mailout
March/April/May 2010
arts work with people
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Just the right medicine • arts on prescription in Pendle Taking to the streets • Quest – outdoor arts in practice Election special • anyone seen a good arts policy? Community theatre • a search for identity
March/April/May 2010
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tel: 07876 743678 admin@e-mailout.co.uk www.e-mailout.co.uk SUBSCRIPTIONS One year (four issues including p&p) individuals £20 voluntary & not-for-profit £27 public sector/commercial organisations £38 discounts for multiples Cheques payable to Mailout ADVERTISING RATES Vol/not-for profit organisations: full page £230, 1/2 page £150, 1/4 page £90 Commercial/corporate/statutory: full page: £350, 1/2 page £230, 1/4 page £150 10% discount on series of three inserts Web advertising by arrangement Booking deadline 14 May 2010 MAILOUT IS: Published by Mailout Trust Limited Editors: Rob Howell & Sue Robinson Contributing Editor: Lyndsey Wilson Funding editor: Julian Dunn e-mailout editor: Jules Cadie Administration: Ruth Coe Designer: Richard Honey, dg3
news views ideas events people Contents REGULARS Letter from the editor Your Mailout Surf’s up Calipso Ear to the ground Artman Courses conferences and events Funding
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POLITICS – A MAILOUT FOCUS
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I believe in motherhood and apple pie Robert Howell sifts through the policies ahead of the general election The Mailout readers manifesto What you’d like to see Claim and shame Baseless Fabric Theatre Company take a sideways look at MP expenses City of culture? You’re having a laugh Ian McMillan on Barnsley’s ambition Up for arts Voluntary Arts England’s reflections on the Learning Revolution white paper Politics and content in outdoor arts Bev Adams draws together colleagues views
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COLUMNS Talking through the arts John Pick’s political reflections The five minute poet Alison White on having her braces fitted Review Nicky Puttick revues Expressive Arts Activity Clipout PR – get yourself out there in partnership with Full Square
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FEATURES Arts on prescription in Pendle Leroy Philbrook tells us more De-coding best practice in arts and health Mike White and Mary Robson summarise the research
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Printer: Creative Copy ‘n’ Colour Contributions deadline 7 May 2010 COVER: Main photo – Photo © Amanda Crowther Thumbnail – Beat Herder festival. © Lyndsey Wilson mailout is the national magazine for people developing participation in the arts. The mailout Trust aims to promote and advance the practice, understanding and profile of high-quality participatory arts in the UK. ISSN 0959 0013 The mailout Trust Ltd is a Company Ltd by Guarantee. Registered in England No. 5252801 Mill Barn, Clowne Road, Barlborough S43 4EN
Quest – outdoor arts in practice Bev Adams from Faceless sums up a recent national event
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Community theatre and a search for identity 28 John Somers on creating theatre from community stories 30 Breckland Film Festival Samantha Dawson on Film in rural Norfolk. Festivals 2010 31 Lyndsey Wilson dusts off her wellies and gets ready for the festival season
Letter from the editors This will be one of the longest election campaigns in British history. The result has not been this unsure since 1992 when John Major scraped back in at the expense of Kinnock. It was the Sun that ‘done it’ apparently. mailout’s influence and subscriber base is a tad smaller than that of the Sun but we’re still planning to tell the political parties what you’d like them to do. Winston Churchill said ‘Democracy is the worst form of government apart from all the other’s we’ve tried’. In the UK we have a system of party politics rather than government by referendum, (though some parties selectively call for them when it suits). This means that we have to vote for a basket of policies. What do we do if we like a party’s thoughts on health but don’t trust them on foreign policy? We’re convinced that their education policies are right for our children but we
wouldn’t trust them in charge of the purse strings? Difficult! There are people who are only interested in punishing MPs for their past misdemeanours with receipts and won’t even look at the policies. Traditionally the left can be categorised as favouring the use of arts in social policy – helping to empower the masses. The right can be equally generous but from a placating ‘Bread and Circuses’ point of view. We can’t vote for the arts in isolation but we can tell the parties what we’d like them to put in their manifestos. Read some of your thoughts on Page 21 and let us have any more by the end of March. A great big bar of chocolate to anyone who spots anything to do with participatory arts in any political manifesto published this election. Vote with your conscience and lobby whoever wins for the policies you believe in. a
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YOUR MAILOUT
Mailout and you The Mailout website ALERT Mailout has changed its web address to www.e-mailout.co.uk You can also contact us via our blog and on Facebook and twitter:
How to contribute This is your magazine and relies on your contributions to exist. We love to hear from you. For next issue we want to hear about your environmental projects and from those people for whom the participatory arts have made a significant difference to their lives.
The Journal of Arts and Communities seeks to provide a critical examination of the practices known as community or participatory arts and is planning a special Nordic issue. Nordic countries – here Denmark, Finland, Iceland, Norway and Sweden – are often taken to have features in common. These include orientation and priorities of policy and practice. A Call for Contributions is extended to artists, researchers and informed commentators to explore and share ideas and knowledge. A PDF with further details is also temporarily available at www.robinsonhowell.co.uk. Click on Projects and scroll down to find mailout.
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A new format for Mailout? In the last issue, trustees of mailout reflected on its effectiveness against a background of change. We asked you for your thoughts on our proposals for change. Thank you for your replies and ideas. We have listened to you but won’t be giving away too much here right now.
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Write us an article Tell us about your campaign issue Write a letter Comment on a past issue Send us a news item Suggest a topic for clipout Draw us a cartoon Suggest an interviewee
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We asked: Currently, in what areas do you think Mailout offers a useful service to you? A number of people found the following most useful: > A broad spread of news and information about the sector > Details of projects > Information about courses,
conferences, events > Funding and opportunities > Followed by: opinions and discussion topics, guidance notes and useful contacts Amongst the improvements you said: > Bigger images exclude smaller > More examples of good practice in health work > More projects from other countries > More opportunities for readers to co-create > Would like to see greater diversity, range of culture, ages, abilities and cultures Mailout is the voice of contributions from its readers. If you can help us with any of the above, please, get in touch! We would love to hear about your stories, and happily publish images and examples of good practice. You also said: “Magazine is always useful, informative and inspiring. Please do keep is as a paper based publication so that it doesn’t get lost in the electronic overload” “Like black and white, simple format” “Funding info good” “I like the direction of the magazine, and can’t see it needs any areas to improve. I’m happy as long as it continues to feature relevant and up to date material”
Surf’s up We’ve listed here some of the web addresses listed in this issue of mailout. Why not have a random surf. You may find something you otherwise wouldn’t have thought of.
www.aandb.org.uk www.a-m-a.org.uk www.artscampaign.org.uk www.ashsak.com www.awardsforall.org.uk/england www.biglotteryfund.org.uk/ prog_reaching_communities www.bmag.org.uk www.bridgehousetrust.org.uk www.cartwheelarts.org.uk www.communityfoundations.org.uk/ finding_uk_community_ foundations www.conwyfeast.co.uk www.culture24.org.uk/museumsatnight www.curiousminds.org www.dacontrust.co.uk www.eisteddfod.org.uk www.facelessco.com
www.funnywonders.org.uk www.gumtree.com www.hackney.gov.uk/cm-museum www.hebdenbridgeartsfestival.co.uk www.hlf.org.uk/InYourArea www.hollowayartsfestival.co.uk www.idea.gov.uk/idk/aio/14269000 www.jg-projects.co.uk www.jobdunne.com www.johnlyonscharity.org.uk www.llangollen2010.co.uk www.londonwordfestival.com www.lsc.gov.uk/regions/SouthWest/esf www.lutonartsfestival.org www.moremusic.org.uk www.nlff.co.uk www.nnfestival.org.uk www.participationinthearts.net
www.peel-park.lancsngfl.ac.uk www.pendlelife.co.uk/roundabout/ opencms/pendle_leisure_trust www.robinsonhowell.co.uk www.sthughsfoundation.co.uk www.strawberry-fair.org.uk www.talevalleycommunitytheatre.org www.thelbt.org www.thepetercruddasfoundation.org www.touchlocal.com www.tudortrust.org.uk www.uk.virginmoneygiving.com/giving www.ukyoungartists.co.uk/content/ biennale-2009 www.upforarts.co.uk. www.veoliatrust.org www.waterfordhealingarts.com www.womad.org/festivals/charlton-park
Political dynamism Does it matter what politicians say their ‘arts policies’ will be in government? After all, virtually every great flowering of the arts, from Ancient Athens to the Renaissance, has occurred without the aid of ‘arts policies’. (Indeed, until the end of the nineteenth century the word ‘policy’ meant ‘trickery’ or ‘deceit’, and could not possibly have been applied to the arts.) Yet in the twentieth century, in spite of the overwhelming evidence that significant social change always follows on significant technical and economic changes, rather than as a result of state action, we allowed ourselves to be persuaded that, for anything significant to occur, it must be planned for and initiated by means of a Government ‘policy’. In the 1900s UK governments tried three times to give radical new ‘policy’ directions to the arts. Each attempt has ended in failure. The first was Jennie Lee’s 1965 White Paper. Full of pieties about state support, for the arts, it was rendered stillborn by the very forces it sought to harness – the simultaneous emergence in the commercial sector of the Beatles, the cinema’s New Wave, and the fashions of Carnaby Street.
Second was the ‘New Realism’ of Thatcher, wishing to transform the UK arts scene so that it more closely resembled Corporate America. Before that all imploded a new kind of totalitarian arts bureaucracy took root in the UK, one powered by crude economic ideology rather than by any real understanding of the diversity and significance of the living arts. The third policy shift was the 1997 creation of the ‘cultural industries’ by New Labour. The arts became an instrument of state propaganda, to be valued for their ‘outcomes’ – either because they contributed to some notional economic growth, or because they (supposedly) led to the achievement of nebulous social goals. The only real ‘outcome’ was that the swelling arts bureaucracy became more impervious to the nature of the arts. That fantasy now lies shattered, as ‘Broken Britain’ struggles to emerge from the depths of recession. But the underlying reason for its collapse is the growth of the new Digital Media, on which, in the last six months, the UK spent £60billion – about twice what, only ten years ago, was reckoned to be the annual spending in the whole of the Cultural Industries. No need to look at the number of times each second we
“in spite of the overwhelming evidence that significant social change always follows on significant technical and economic changes, rather than as a result of state action, we allowed ourselves to be persuaded that, for anything significant to occur, it must be planned for and initiated by means of a Government ‘policy’.”
Google, film events of our lives, download music on our ipods, blog or text our friends, to know that this is an unprecedented technical change which radically changes the way we live together, transforms our creative lives and underpins everything we do in the arts. And Governments cannot control or direct it. The Chinese government may try to ban Google, as South Africa tried to ban television, and the USSR once tried to ban transistor radios, but ultimately the new technology will break through any controlling mechanism erected by the state. It enables us to communicate as never before. If we use it imaginatively it will fund and empower all kinds of artists and arts organisations. Not for a century have politicians’ ‘arts policies’ been of such little importance. a John Pick’s most recent book is ‘The Aesthetic Contract’ (Buffalo State University, USA, 2009)’
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TALKING THROUGH THE ARTS
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EAR TO THE GROUND
>> ARTS COUNCIL ALLOWS CLOSURE OF ANOTHER
DISABILITY ARTS ORGANISATION
Kaleido Arts is the latest in a long list of organisations run by disabled people to have its funding cut by the Arts Council. London Disability Arts Forum, the National Disability Arts Forum, the West Midlands Disability Arts Forum and the East Midlands Disability Arts Forum all closed in the recent past. Arts Council England South West will be allocating the budget themselves instead. Given the likelihood of cuts to
the Arts Council budget in future, the targeted funding could end up being cut altogether. Kaleido has been the only Arts Council England South West funded regional development agency run by a Board made up of 85% Deaf and disabled people. Half of the staff team are disabled. Kaleido Arts argue that it is a retrograde step if the Arts Council, rather than Deaf or disabled artists, make the final decisions about how the funding for supporting Deaf and disabled artists and audiences is used.
Lava Rocks and Galaxy by Richard Bizley
Kaleido Arts are asking artists and the general public to express concern about this decision. a For more information: E: info@kaleidoarts.org W: www.kaleidoarts.org
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YOUNG COMPOSERS’ COMPETITION 2010 Young musicians aged between 12 and 18 are being invited to enter the BBC Proms Young Composers’ Competition, which is now in its 12th year. The competition will give the winners a BBC commission and see their work performed by professional musicians. Last year’s winners wrote pieces for the Last Night of the Proms, although details of the 2010 commissions have yet to be announced. Entries to the competition will be judged by a panel of composers from a variety of musical fields, and composers have until 28 May to submit their entries. The BBC is also calling for young composers to sign up for its Composer Labs, which aim to give young talent across the UK the opportunity to explore new ways of composing and get a taste of what it means to be a composer in the 21st century. The Composer Labs take place in Birmingham, Cardiff, Glasgow, London, Manchester and Truro between 7 February and 11 April. For the first time, an online version of a Composer Lab will also be made available from April. This will include footage from the various Labs, recommendations and tips.a For more information W: www.bbc.co.uk/proms
Dad by James Lake
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Kaleido Arts, a regional agency run by Deaf and disabled artists, will close on March 31st 2010. Kaleido Arts, the regional agency supporting Deaf and disabled artists in the South West, was shocked to find out that Arts Council South West are cutting their funding completely from the end of March 2010. As a result the Kaleido Arts Board has taken the difficult decision to close the office.
First Light funding for young script writers Young film makers aged 16–25 from Project Ability will get the chance to realise four original scripts, thanks to an award of £9,440 from First Light. The four diverse films include a surreal drama about a journey, an animation about a wizard and his adventures, a spoof documentary on Robert Smith and a fictional drama about a naive person trying to do good but getting it wrong. The project allows the young film makers to experience the whole film making process from start to finish – developing ideas, shooting, editing and promoting the finished films. These will be shown on the big screen and submitted to film festivals.a For more information: Alex Wilde, Create Manager T: 0141 552 2822 E: create@project-ability.co.uk W: www.firstlightonline.co.uk/ funding
Making some noise
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EAR TO THE GROUND
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As part of the Young Leaders programme, participants from music programmes in Staffordshire and Stoke On Trent have been sharing their skills and experiences to other budding musicians. Not only did the Young Leaders develop life skills whilst participating in the scheme, but they also gained a Silver Arts Award. The Young Leaders were invited to take part in Youth Music’s national annual campaign, ‘Youth Music Week’. They joined thirty young people from two other West Midlands based Youth Music Action Zones to write and perform a song in one day. The song, ‘Music Is Power’ celebrated the positive power of music to change lives and has since received significant press interest, in particular from Kerrang Radio. Listen to their song on the Make Some Noise website: www.make-some-noise.com/ downloads/YouthMusicWeek09.mp3 Make Some Noise’s vision is to enhance the lives of children and young people in Staffordshire and Stoke-on-Trent by introducing high quality opportunities to make music. Make Some Noise believes music inspires young people, and for many is also a catalyst for positive change. They explore innovative approaches that work towards better access to music for young people.a For more information contact Tim Sharp T: 01785 278 274 E: info@make-some-noise.com
ILLUMINATING HADRIAN’S WALL Hundreds of people from across the country and overseas will be able to take part in one of the most spectacular events planned in Britain during 2010. 500 people will help to create a line of light from one side of Britain to the other, along the length of Hadrian’s Wall, on 13 March 2010. Each of the volunteer ‘Illuminators’ will be part of a small team responsible for lighting one of the 500 individual points of light that will be placed at 250 metre intervals along the route of the 84 mile long Hadrian’s Wall Path National Trail. The first of the lights will be illuminated at Segedunum Roman Fort at Wallsend in the North East of England. Each of the other lights will then be lit in sequence by the Illuminators, with the line of light reaching Bowness-onSolway on the Cumbrian coast about an hour later.
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FUTURE PRIORITIES FOR THE ARTS Between now and 14 April Arts Council England are consulting artists, arts organisations and other key stakeholders on future priorities for the arts. They will be asking about our understanding of the current landscape of the arts and the areas that need developing in the next ten years. They will then combine what they learned from the consultation with their own research to finalise their thinking, which will be published later this year. This framework will be a key tool to ensure the best environment for creativity to flourish and for deliv-
ering the mission of great art for everyone. They are inviting everyone working in or interested in the arts to take part – artists, arts organisations and partners, commercial, amateur and voluntary arts organisations. They also want to hear from audiences. The consultation will be conducted online, through events, written responses and research commissions.a The majority of participants will be encouraged to take part online at: W: www.artscouncil.org.uk/ consultation
Carol Bell, Head of Programme Development for culture10 at Newcastle Gateshead Initiative, said, “Our ambition is to involve as many people as possible in this event which celebrates our fantastic landscape, and we encourage audiences to help shape the cultural offer of the region, actively taking part in our festivals and events by ‘doing, not just viewing’.” For those keen to watch, two free events will take place, one at Segedunum in Wallsend where the line of light will start and the other at Carlisle in Cumbria, to welcome the light into the North West. A very limited number of tickets will be made available for the stewarded viewing points along the route and must be pre-booked. a For more information visit W: www.illuminatinghadrianswall .com
>> The United Kingdom in song Before Christmas, Today guest editor Robert Wyatt asked people who sang in amateur choirs around the UK to send the sound of their song to the Today programme. They were inundated with music – from requiems to carols and folk songs. From Mousehole to Aberdeen you can hear the sound of Great Britain’s choirs by clicking the icons on the interactive map. a Submissions are now closed but to visit and hear a little more go to: W: www.news.bbc.co.uk/today/hi/ today/newsid_8436000/8436192.stm
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EAR TO THE GROUND
Do the Daffodil Dance
>> CHARNWOOD ARTS IS PICKING POCKETS …
Take part in a bespoke salsa, ballroom or line dance to help raise funds for Marie Curie Nurses. This March, Marie Curie Cancer Care is calling on dance groups to hold a sponsored salsa, ballroom or line dance to help fund nursing care for terminally ill people at the end of their lives. Top dancers have choreographed the three separate routines for this year’s Daffodil Dance – Maggie Gallagher has created the line dancing steps, Ansell Chezan has designed the salsa routine, and Jason Parkinson has written the ballroom steps.
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Anton Du Beke, from the BBC’s Strictly Come Dancing, is encouraging everyone to get their dancing shoes on. Dancing groups can join in with the Daffodil Dance any time during March 2010, as part of Marie Curie Cancer Care’s annual Great Daffodil Appeal. Each group that registers will receive the steps for their chosen dance style, a free fundraising pack including hints and tips on how to make their event a success, and daffodil pin badges. a To register your Daffodil Dance, please visit W: www.mariecurie.org.uk/ daffodildance or call T: 0845 601 3107.
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Walking into art Artist Jilly Morris has moved to remote Highgreen, Tarset, Northumberland from Bristol city centre for a year to take up the post of Artist in Residence in the Community for arts charity VARC. She is embracing the hospitality of local people and the wildness of the moorland landscape. Daily walks are part of a self-imposed routine. They provide opportunities to meet people, and become a way of viewing and immersing herself in the environment; the walking has developed into a starting point for a year long project. “Walking seems to be my complete joy at the moment and I continue to write my walking diary after every walk. Incredibly I even like walking in the rain. I am currently thinking of ideas for artworks that include walking somehow. I am becoming interested on the historic tracts that surround this area; a road/path is a record of those who have gone before and to follow them is to follow people who are no longer there. Shepherds would have to walk miles to take herds of sheep to market along drove roads; dead bodies would
have to be carried to burial sites along corpse roads. There is a fascinating history underneath our feet!” Jilly Morris Each day, on returning from her walk, Jilly is making a series of parallel drawings both abstract and narrative which she hopes will capture moments, the changing conditions of the textural landscape through the seasons and her experience of each walk. She is also recording the data on these journeys with a pedometer. As well as drawing, Jilly Morris works with a variety of media to make three-dimensional and relief pieces including porcelain, thread, nails, graphite, wire and enamel. Workshops and projects with local people and visiting groups are a small but important part of the residency. a For more information T: 01434 240822. E: janet@varc.org.uk Read Jilly’s blog at: W: www.varc.org.uk/artists-blog
Charnwood Arts’ Big Knitting Group invites you to contribute to Every Pocket Tells A Story a new exhibition at Loughborough’s Charnwood Museum, which will explore the history and the future of the pocket. The pocket has always been a personal and a private place to store precious items. It is the subject of nursery rhymes and common expressions. Traditionally pockets were tied to clothing and made from linen or – if you were wealthy – silk. They hid precious things and personal items and were the targets of pickpockets. Today pockets are usually integral to clothing. What do you keep in your pocket? We carry around phones, i-pods and other precious personal items but what do the pockets look like that contain these modern day items? We invite you to make your own pockets and send them to us to be included in the exhibition. Your pockets should be inventive, humorous and individual and must include a piece of writing inside. This story will be reproduced as the label for your pocket. Please note that the pocket should not include any other contents. Pockets must be no larger than A6 size (150mm x 105mm), although we will allow you some leeway with this if, for example, your pocket has detail attached to it. Please be inventive and use recycled or reused materials where possible. We encourage you to knit, stitch or use felt for your Pockets but any medium is welcomed. All Pockets we receive will be displayed in the exhibition alongside their Stories. We are looking to sell all the pockets during the exhibition to raise money for further Big Knitting Group projects. If you do not want your pocket to be sold, please include a stamped, selfaddressed envelope with your entry. Please send your Pockets to Jemma Bagley at Charnwood Arts, 31 Granby Street, Loughborough LE11 3DU by 31 March for exhibition in May and June.
a For more information, please contact Jemma T: 01509 821035 E: jemmab@charnwood-arts.org.uk Further ‘Pocket’ inspiration can be found on the Victoria And Albert Museum web-site www.vam.ac.uk
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DASH: OUTSIDE IN Outside IN is commissioning new work from three of the UK’s leading Disabled Artists for inclusion in three mainstream galleries in the West Midlands and Welsh Borders from 2010 to 2011. The disability inclusive project Outside IN has been designed and is coordinated by rural Disability Arts organisation, DASH in partnership with Oriel Davies Wales, The New Art Gallery Walsall and Wolverhampton Art Gallery to commission original Disability Art across the region for inclusion in their programmes in 2010 and 2011. The primary objective of Outside IN is to increase the number of Disabled and Deaf artists working in partnership with mainstream galleries and to raise the profile of Disability Art and artists locally, regionally and nationally. Sean Burns will be in residence at The New Art Gallery Walsall for six weeks spread over the next 16 months in three blocks of two weeks. Sean will be exploring issues of Mental Health in his commission at Walsall New Art Gallery. Sean will be working with and linking with, the diverse community in Walsall, the Gallery itself, DASH and with Mental Health groups. Sean also plans to be working with the Concrete Hippo Appreciation Society in Walsall. In partnership with Oriel Davies Gallery, Newtown, Wales, Katherine Araniello and Aaron Williamson will
produce ‘Camp DAG’: a 3-day-long Holiday Camp for disabled people on the shores of the River Severn. The work will be a public performance of a fictional Holiday Camp. As the camp will be entirely fictional, the ‘campers’ will be other artists (up to 12) invited to the Camp by the Disabled AvantGarde. ‘Camp DAG’ will thus offer a visual conundrum: a highly visible holiday camp by disabled people who are more usually hidden away by society. In addition, candid cameras will capture the action and interview participants for their reactions and the final film will follow the style of ‘utopian’ 1960s holiday home movies. Noëmi Lakmaier will create an object based installation at Wolverhampton Art Gallery, using the gallery’s own collection as its starting point: chairs, stools, armchairs, sofas, etc – depicted within artworks from the collection, in paintings, photographs or sculptural pieces. Noemi will make a selection of objects, akin to the furniture they are based on, yet changed and manipulated in such a way that their original function is put into question. During the exhibition of the objects she will insert her body into the work by attempting to use the objects as furniture. Visitors will be encouraged to do the same. The audience’s and Noemi’s own active engagement with the furniture-like objects acts as catalyst to the work.a W: www.dasharts.org
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Now and Then The Liverpool based theatre for social change company Collective Encounters, is working on a collaborative project Now and Then with PSS, a national community health and social care provider. Over a six-month period Now and Then will allow people living with dementia, and those who provide care and support service for people with dementia, to work with a professional theatre director. Now and Then will create a performance, which explores the different stages of the dementia journey, the choices to those with dementia, and the people and systems encountered along the way, This performance will then tour to a range of venues, performing to national audiences including PSS’s own Dementia Conference and the National Pensioner Parliament in Blackpool 2010. a
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For more information, or to participate in Now and Then, contact Anna Maxwell T: 0151 291 3887 E: anna@collective-encounters.org.uk W: www.collective-encounters.org.uk W: www.pss.org.uk
Tees Valley Arts awarded major grant from the Northern Rock Foundation Tees Valley Arts is celebrating after being awarded a grant of £75,000 over three years to support its work as an arts development agency. Middlesborough based TVA is an organisation which champions participation in high quality arts and stimulating creative activities as a tool for improving the quality of life and learning for individuals and communities. TVA works in education: designing and delivering stimulating programmes for able students, for disengaged learners, for excluded or at risk pupils, and to deliver the science curriculum and environmental learning and awareness in unexpected and enjoyable ways. TVA works in diversity and inclusion: using the arts to support and empower people who face life’s challenges. TVA works to bring people together with mutual respect and celebration.
They also work to support artists, creatives and makers in the Tees Valley and contribute to the development and strengthening of local creative industries. Rowena Sommerville, Director of Tees Valley Arts commented: “we are very grateful for the continued support of the Northern Rock Foundation as well as our other regular funders Arts Council England, the five Boroughs of the Tees Valley, and the Baring Foundation.” TVA has over 27 years experience of managing and delivering high quality creative projects in and around the North East of England since being established in 1982 as Cleveland Arts. a For further information T: 01642 264651. E: info@teesvalleyarts.org.uk W: www.teesvalleyarts.org.uk
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COMMUNITY RADIO PROMOTES TV SWITCHOVER Community Radio station Preston FM – run by community arts organisation Prescap – has been working with community radio stations across the North West to help communities with the big digital TV switchover. The Digital Switchover Help Scheme – part of the BBC – engaged Prescap to raise awareness of the help available for older and disabled people struggling to switch to digital TV. 19 stations from Cumbria to Cheshire broadcast Community Service Announcements, interviews and reports about the Help Scheme during the Granada region digital switchover in November and December 2009 – as well as featuring audio, text and visual content on their websites. Over 300 volunteers working within community radio stations brought their creative flair to a total of almost 15 thousand on-air “spots” broadcast over the eight week project. Content included Urdu, Hungarian and five other community languages – as well as English – targeted at the friends and family of those eligible for help with switchover, as well as older and disabled people themselves. Volunteers also got involved in other switchover–related activities organised by the stations as well as by the BBC, Digital UK and other agencies involved in the switchover. The involvement of community radio in supporting the Help Scheme had a significant impact in ensuring that eli-
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gible people were aware of, and able to take advantage of, the assistance available to them to switch to digital TV. Feedback from listeners was strong – and participating stations received good response rates from listeners during the project requesting more information on the scheme. The project was particularly successful in reaching minority communities not well served by mainstream radio.
Image courtesy of vismedia
The collaboration between participating stations (many of them very small, volunteer–led organisations); the Help Scheme; and other agencies involved in the switchover was a positive experience for all involved. Community radio stations were able to achieve more by working together than they would have done individually; and the impact evidenced by the project will encourage more joint working in the future. The Help Scheme was impressed by the quality and professionalism of the project delivered by the Community Radio sector – it was gratifying to see the both sides’ common goal of social gain work together so well.
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Learning gained from the project has been passed on to the Community Media Association (the national umbrella body for community radio and television) to assist with potential future community radio involvement as switchover comes to other areas of the UK. It is hoped that future switchover regions will benefit from the experiences of the Granada project.a
Community Workshop re-opens to the public Community Music East (CME) will be opening the newly refurbished Community Workshop in Norwich for music and multimedia activities in early 2010. Children and adults can sign up for guitar, ukulele, singing, digital photography, music technology courses and more. A lack of funding forced Norwich Community Workshop Trust to close its doors in December 2008. The old Victorian school on Music House Lane, originally owned by the Diocese, had provided a venue for the trust’s projects and training and is a much loved landmark in the area. Clara Gauntlett from CME says: “We’re delighted to be able to open the Community Workshop to the public once more. It’s a beautiful building, full of character, and will be an inspiring venue for our music and multimedia workshops.” “We’ve given the building a lick of paint, restored the parquet floors and made some internal alterations and improvements. Noisier workshops, such as rock schools will continue at our King Street site, just around the corner.”a To book a place on a CME course T: 01603 628367 W: www.cme.org.uk.
Sew your own: Growing skills and confidence, connecting communities and re-working fashion Women of St Helens will have the opportunity to take part in an innovative 6 week course working with recycled fashion. ‘Sew Your Own’ is a fledgling social enterprise founded by Ally Burr that aims to encourage people from all walks of life to recycle old clothing and fabrics into something new and exciting. The Sew Your Own workshops will include opportunities to learn basic hand and machine sewing skills, tips on how to customise clothing, as well as how to make bags, cushions and accessories. Course tutor Ally Burr explains how “participants will be encouraged to turn unloved items of clothing and fabric into something new and exciting”. The programme aims to nurture the creative energies and natural talents of local people by turning their hand to making something sparkly and new from something old and tired. This free course is funded by IdeasTap – a creative network for emerging arts talent with support from the Wellbeing Project – a health and wellbeing social enterprise based in Halton and St Helens. The Wellbeing Project was set up in 2005 in Halton and St Helens to provide a range of community based activities for everyone who would like to improve their mental wellbeing.a For more information contact Paula Gamester at the Wellbeing Project T: 01744 26444 E: paulagamester@hotmail.com W: www.wellbeingproject.co.uk
The Five Minute Poet The Child as Fallen Light
If a tree falls in a forest, does it make a noise? It’s a philosophical question, of course, because how can we know if there is a deafening crash unless we are there to hear it, which leads me to think there’s something of the artist about that tree, demanding the lending of an ear to unleash the potential in its final dramatic act. After all, where does participation in art start and end? Even after the painting has been painted, it still needs an audience to make meaning of the paint strokes. Consumption of art – sculpture, installation, music, dance or any other art form – sounds a deceptively passive act. Responses to art in all its guises are ultimately actively processed in our most private place, our minds. Take reading a novel; it’s such a private act, though, in the main, it can be done in the most public of places without risk of arrest. It transports us from the commuter journey into an unfolding fictional world. We translate the arbitrary shapes of the words on the page and lift them into scenes in our heads as real as dreams and we each have the freedom to choose the look of our private heroes and heroines.
The Five Minute Poet is Alison White, Writer, Poet, Playwright. Make friends with her on Facebook – The Five Minute Poet.
Reading doesn’t make me feel like a consumer, it makes me feel like a participator. With this in mind, I’d like you to dance with me. Well, in truth, I’d like you to dance with my teeth as they make their journey from crooked to straight via the aid of a fixed brace. Lift the words from the page and let the surreal film of my dancing teeth run in your head. And I really don’t mind whether you paint the dentist as wolfish, fiendish or just plain dish!a
Bracing My Dancing Teeth Kicking cancans like the Follies’ first rehearsal, out of line, each one keeping your own time, your choreography was not appreciated by me, and more importantly, the dentist who turned his spotlight on you, angling its beam with his mirrored disc, all the better to see you with, your little reflections of acrobatic flips, no wonder I kept you behind tight lips. Little troupe, there were audition casualties: for two of you, brace yourselves girls, it was curtains. There was talk of wires, pliers, of tension and the need to pull together. Your oddly cocked heels now captive in callipers that reshuffled your dentine souls, throbbed with rhythms of enamel thumping home like refugees through slow yielding bone. Musical statues, caught in the act, coupled, on train tracks, you rehearsed a military two-step, became formation dancers, arms linked, in time, like a West End chorus line, assembling for the grand finale. Sold out. Forgive this scold who bridled you, and the man who rummaged at your roots, so I can smile when a camera is produced. ©Alison White
Artman
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FIVE MINUTE POET
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FEATURE
Arts on prescription in Pendle “Perfect for meeting people with similar problems, a brilliant course, really helped”
In the shadow of Pendle Hill there is a new arts and health scheme helping local people improve their mental health and wellbeing. Arts on Prescription, delivered by Pendle Leisure Trust is not only clearly improving participants’ confidence but has gained national recognition, being showcased at Folkestone University on the 23 March 2010. In 2005 Pendle was chosen to participate in a ground breaking research project by Manchester Metropolitan University, (“Invest and Save”). Pendle Leisure Trust then delivered a series of art classes with the effects on participants’ wellbeing analysed by researchers at the university. The research found that participants felt happier, empowered and more confident after engaging in this arts initiative, as reported in mailout March 2006 (“The Arts Are Good For You”). This research was a breath of fresh air, confirming what most artists and readers of this magazine already knew. This was the beginning of Arts on Prescription in Pendle.
“Arts on Prescription helped me remember that I am a person and not just a mummy”
On the back of the positive results of “Invest and Save” Pendle Leisure Trust managed to gain funding through the Target Wellbeing programme run by Groundworks North West. Maggie Moody, Portfolio Manager – Target: Wellbeing, explained “Target: Wellbeing is a portfolio of over 90 projects that aim to help people across the North West live happier and healthier lives. The portfolio is funded through the BIG Lottery Fund’s wellbeing strand and focuses on increasing levels of physical activity, improving nutrition and healthy eating patterns, and improving mental well being.” Groundworks engaged NHS East Lancashire to be the portfolio holder for all the projects in the Burnley and Pendle area, with Arts on Prescription as one of 23 projects. Arts on Prescription is also funded by Pendle Leisure Trust and Nelson and Colne College with the latter supplying the local artists for the project.
For further information or advice on establishing a similar programme please contact Leroy Philbrook, Arts Development Manger for Pendle Leisure Trust. E: Leroy.philbrook @pendleleisuretrust .co.uk
This funding, and working in partnership with the college enabled Pendle Leisure Trust to launch Arts on Prescription in Pendle on the 27 June 2008.
“This course really helped me to tackle my depression head on and built up my self confidence from nothing to sky high” The four year Arts on Prescription programme is in the middle of its second year and has delivered a number of positive outcomes. In year one, for example, the project delivered 5 courses with 47 beneficiaries, with the following results: > 86% of participants felt that the courses gave them a sense of increased wellbeing. > 100% had an improved score (relating to self esteem and wellbeing) according to the Warwick Edinburgh Wellbeing Scale (WEMWBS) > 100% had increased self efficacy (according to self evaluation questionnaires) > Almost 50% felt that the project had helped them to meet new people, feel part of their community and have more control over their lives. The greatest challenge faced by the programme has been attendance and retention due to the nature of participants’ illnesses. Two solutions were used to try to mitigate these
“When you are on your own … It’s nice to have some thing to look forward to in the week” issues. Firstly, an ongoing enrolment procedure was established, meaning that participants could start the course when they were ready to start. Secondly, the course work was based on themed individual projects, meaning that if a participant missed a week any anxieties about catching up with work were minimised.
“For me Arts on Prescription means being able to find a few hours to get into a creative space and unwind stress free, learning new techniques and making new friends” Recently, Arts on Prescription was recognised nationally when The Sidney De Haan Research Centre for Arts and Health invited Arts on Prescription to take part in its 2010 Seminar Series at the University Centre Folkestone. On 23 March Jeni Keiller, one of the local artists delivering the project, and the project co-ordinator will travel down to Folkestone to present a two hour interactive seminar about the success of the Pendle programme.
This is an exciting development for Arts on Prescription and a well needed positive focus on Pendle and Pennine Lancashire. Jeni Keiller said “It really does change people’s lives. I am very excited about going to Folkestone and sharing with them some of the positive work we have been doing in Pendle.” Lesley Elmes, Mental Health Section Leader at Nelson and Colne College, added: “There is a need for programmes such as Arts on Prescription because there is substantial evidence that art and all types of learning have a positive impact on mental health, well-being and help build confidence.” The success of Arts on Prescription has been proven in both informal feedback as well as through reliable wellbeing surveys. It is hoped that similar schemes can replicate this success in other parts of the country, helping some of the more vulnerable members of society. a
Arts on Prescription Case Study Any names and identifying details have been changed to protect confidentiality.
John Smith is able to express his feelings after attending Arts on Prescription.
John’s Situation John has Aspergers and is in his mid 20’s. He is suffering from low confidence and feels that he is unable to express his feelings, even to those close to him. He is seeing a therapist every fortnight. He used to enjoy writing but as of late feels no motivation to write because the only audience for his writing is himself. He is generally feeling un-happy.
Intervention: Arts on Prescription John attended an Arts on Prescription creative writing class for 18 weeks. As part of this class he was encouraged to write in class and at home. The class was delivered by a professional artist and participants were encouraged but not pressurised to read their work to the class.
The Impact of Arts on Prescription John has started writing again. He feels motivated to write and has also developed the confidence to share his writing with the artist leading the course, his therapist, and his mother. He has started using his writing to express his feelings and emotions, which he felt he could not speak about. His general demeanour has changed to one of confidence and happiness. This sharing of his feelings has been a significant breakthrough as previously he was unable to talk about many of the aspects of his life that were effecting his wellbeing.
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FEATURE
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FEATURE
De-coding best practice in arts in health
By Mike White and Mary Robson
Mike White is a Senior Research Fellow of the Centre for Medical Humanities at Durham University and Mary Robson is its associate arts and education researcher. The ‘arts in health’ field is frequently asked to define examples of best practice. The pioneering nature of this work makes it a learning process for all involved, and it is from a multisector dialogue that the characteristics of good practice may be best determined. As practitioners themselves may acknowledge, however, some adverse characteristics of practice need to be improved or eradicated. Lessons learned from both success and failure have informed the impetus in recent years to scale up the work and establish whole system programmes for the delivery of arts in health, their target areas determined by human geography or specific health issues,
rather than just being focused on local projects in isolation. We need first to understand the complexities involved in producing models of good practice. The medical educationalist Colin Coles has produced a tablei that sets out the tension between a medical model of health and a social/artistic one which is based on the learning systems guru Donald Schon’s view of practice as artistry.ii Coles’ table seems highly relevant to articulating a code of practice for artists working in healthcare settings and he contrasts scientific rigour and artistry set out below:
Technical/rational
Professional artistry
Practice is concerned with certainty
Uncertainty is endemic
Complexity must be reduced
Complexity is inevitable
Factual knowledge is required
Some things remain unknowable
Protocols should drive practice
Judgment is central to practice
Quality is measurable
Quality lies within each professional
Services are to be delivered
Care can only be realised
Performance management is essential
Professional self regulation is needed
Regulatory mechanisms are required Development achieves high quality Staff training is needed
Professional education is required
Resolving the tension between the left and right columns is helpful not only for determining good practice but also for its evaluation. But achieving measurable performance by adherence to protocols has to be balanced by recognition that best practice is also shaped by reflexive and experiential learning. Efforts to date to produce a code of practice for arts in health have tended to be almost entirely directed at the artist, supplementing the requirements for a boldly competent arts practitioner with a whole raft of extra responsibilities relating to governance, research skills and partnership management that have to be adopted. These are responsibilities rather that should be shared by project partners, with a support structure in place that enables the artists to concentrate on engagement with participants and delivery of the project, while allowing their input on the health and wellbeing aspects of the project to be contributed and valued. Recognising these difficulties, Ireland’s Waterford Healing Arts Trust and the Health Service Executive for Cork together identified a need for support for artists who wish to develop their practice in healthcare settings (including relevant voluntary/community group settings) and for healthcare professionals wishing to engage with artists and art projects. So in 2008– 09 they commissioned us to produce guidelines for good practice for participatory arts in health care settings. These guidelines can now be downloaded from www.waterfordhealingarts.com and feedback on them is invited until October 2010.
The guidelines were developed through a process of consultation with a representative group of over fifty practising artists and health professionals in Ireland and with other members of the UK arts and health sector in general. We wanted our consultative method to complement the processes of the work as perceived by practitioners. We recognised that the practice of arts in health is not so much a single professional role but a skills partnership of people who come together in their distinctive roles to engage the public in creative activities that aim to improve health and well-being. The term ‘practitioner’ is here not to be understood as exclusively an artist; rather it can be anyone who has a professional role in the preparation, delivery and evaluation of the work. The term ‘participant’ can refer to a patient, client, service user, staff member, carer, or indeed any person in a community taking part in an arts in health project. We felt we could not produce a set of binding rules of conduct for members of a distinct profession; rather the guidelines should be a statement on good professional practice and personal conduct for developing participatory arts in healthcare. Our consultations identified a core commitment to five key factors that should be common to all practitioners in this field: 1. 2. 3. 4. 5.
Putting participants first A responsive approach Upholding values Feedback and evaluation Good management and governance
The guidelines were then structured around these five headings, each commencing with a keynote point that aims to express the essence of good practice in participatory arts in health. For example, the second heading, titled ‘A responsive approach’, sets the keynote as: The practitioner always attempts to draw out the creative potential of participants, challenging and motivating them whilst exercising professional judgement on the reasonable expectations from the activity.
It continues with the following points: > Practitioners propose the vision and structure for the arts activity but maintain an open mind for collaborative, friendly working that respects the experience, skills, advice and contribution of others. > The arts activity evolves out of dialogue and engagement between practitioner and participants and is developed, so far as is practicable, as a communal interest in which every participant’s voice is heard and acknowledged. > Practitioners aim to keep an overall focus on health and well being while ensuring that the activity abides with the aims and purposes agreed with fellow practitioners and/or participants. > The approach to the arts activity is appropriate to the setting and practitioners try to create a congenial and secure space in which participants can work and relate comfortably with each other. In the absence of a professional body able to require compliance with a code of practice, it was felt there was a need for clearly defined roles and boundaries at the outset of a project. The difficult question was raised as to whether practitioners should be validated and registered, in the way that arts therapists are. There was also the issue of how to decide if and when a practitioner is capable and eligible to work under the guidelines. These are complex training issues, but in the first instance it was felt many organisations needed to be supplemented with information on recruiting and managing artists in the first place. Good practice is not about just knowing the ground rules of a participatory arts intervention in a healthcare setting; quality production and emotional engagement are also actively sought through the activity. Self awareness is always needed, and the work should try to have support and supervision in a reflective practice framework. The field of arts in health draws practitioners from many disciplines. An interdisciplinary approach to effective networking and partnership can open up learning opportunities for both arts and health workers that are directly linked into practice.
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FEATURE As well as artists, there are medical staff and health workers, educators, individuals, local authority personnel, voluntary sector workers who can all be involved. Relatively few have knowledge or experience of professional supervision or other support mechanisms as part of their working lives. All come across challenging and demanding scenarios in their working lives. Individual and group supervision can prove a boon to an emergent field such as participatory arts in health. Often project partners work together for a short time, sometimes in challenging circumstances. The learning points of the experience can be captured in planned, regular facilitated sessions that are guided by techniques of reflective practice. They contribute to the development and evaluation of the project – for example, through openly contracting the partnership at the outset and course correction throughout the process. Whilst artists have been offered training in business techniques, few have the opportunity to access and afford personal management training. Short courses that look at achieving goals, avoiding burn-out, managing conflicting priorities and balancing personal and professional commitments could be offered at a subsidised rate as part of a training and supervision programme. It is important to recognise this is still a pioneering field of work, and we would advise that it is premature to consider formalising the guidelines into a code of practice as a step towards validating and registering artists who can work in healthcare settings. This will exclude far more talent than it includes, will unnecessarily medicalise the activity, and will confuse the distinct practices of artists working in healthcare settings and arts therapists. The governance of participatory arts in health is a joint responsibility predicated on interdisciplinary partnership to deliver the work. If the arts in health practitioner is seen as a collective rather than an individual, the collaborative working between people from different backgrounds relieves the burden on the artists to deliver the whole project.a More information: www.dur.ac.uk/cmh
i Coles C. Where is the wisdom? Professional education and the realisation of health care. Oxford University Press. 2005. ii
Schon D. The Reflective Practitioner. New York, Basic Books. 1983.
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FEATURE “Quest – Outdoor Arts in Practice” was a 2 day conference, initiated by Arts Council England, Yorkshire, held in June 2009 on the site of the Bradford Mela in West Yorkshire. Delivered by Faceless, working in close association with Promenade Promotions, Swamp Circus and Bradford Mela, the Quest conference aimed to stimulate critical debate about the genres of outdoor performance practice (Circus, Street Arts and Carnival) as a response to the Arts Council’s Outdoor Performance Strategy – New Landscapes and as a link to Elemental – a regional series of Arts Council and Local Authority discussions. Bev Adams, Artistic Director, Faceless, has compiled this summary report. Photo © Soundwave
Quest outdoor arts in practice “Performance Encounters have four main features: Incongruity – with the event and the environment; Generosity – with the audience; Improvisation – working with the audience on the unexpected and accepting this and finally; Playfulness – enthusing the audience with a sense of play.”
The event space on the Bradford Mela site was divided into a series of themed tents: In the Impulse tent, John Fox and Hilary Westlake supplied creative provocation. In Mechanics, Ali Pretty (Kinetika) and Leila Jancovich (co-founder of Circelation) explored the practicalities of making outdoor art projects. In Think Tank, Mike Lister (co-founder Avanti Display) and Alice Bayliss (Lecturer at University of Leeds) provided engaging theoretical debate whilst in the Emergence tent Tony Lidington (Promenade Promotions) explored the small scale and emergent work whilst Richard Sobey (IOU) and Bev Adams (Faceless) facilitated debate about providing space and time to create work. 74 people, varying in age and discipline, attended the conference, of which 54 were practitioners. The conference brought eminent practitioners, academics, students, policy makers and emerging artists together under canvas to discuss, see work, participate in workshops, network and socialise.
Leila Jancovich (co-founder of Circelation and Senior Lecturer and Leeds Metropolitan University) talked about Circelation – a professional development programme for circus artists and directors which set out to encourage circus directors to start thinking beyond the 10 minute performance slot. Having identified that a circus performer’s life is a solitary one, Circelation grew out of a need for artists to network, view each others’ work and exchange artistic practice. Those attending Circelation events over the years listed benefits such as improvement in performance/quality of work and an increase in the generation of new work through opportunities for training, networking and cross-fertilisation. Provide Space and Time for Creativity and Play Richard Sobey (IOU) and Bev Adams (Faceless) facilitated a joint session about providing time and space for professionals and communities to explore outdoor work. The session was based on IOU’s experience of
their project Space, Time, Tools and Advice. The project provides opportunities for emergent arts companies and practitioners to develop ideas at IOU’s Studio with a small budget, mentoring and advice, calling upon IOU’s wealth of experience in both the art and business side of producing creative projects. Faceless’ Conference of the Birds project, on the other hand, has a predominantly community focus. In this project, the company outreaches into a community space to provide space and time for that community to explore outdoor arts through a five day rehearsal process with the company, culminating in a high quality public performance on day six. The discussion groups that ensued on this topic concluded that providing additional space and time for creativity with or without the demands of a production could improve skills, provide inspiration and opportunities for collaboration whilst extending opportunities for risk taking and exploration of alternative influences. The results could
engender more mature work, stronger relationships between artists and communities, thus empowering and inspiring people to find new ways and models of working. The perceived value of such space and time projects to the Outdoor Arts sector included: accumulative quality; new, more considered ideas; innovation and growth as well as the creation of new partnerships and greater understanding of contexts.
As we emerge from the Information Age, he feels that people have lost traditional, practical skills and it is the artist who keeps skills alive whilst looking for new ways to make art connect in a world of austerity. Art should not be about fixed solutions and needs to be present throughout society. With Dead Good Guides, jointly run by John with his wife, art is used as a vehicle to connect people in the main rituals of life, e.g. Weddings, Namings and Funerals.
“When we activate playfulness, the rules of engagement are flexible, and these performance encounters can ‘jolt’ us.” Alice Bayliss, Lecturer in Applied Theatre (Educational, Community and Interventionist Contexts) University of Leeds. Beyond Text is Alice Bayliss’ AHRC funded research initiative looking at performance in a festival context. She does this practically by creating Performance Encounters – relational live performances emerging from unexpected places (i.e. at a festival an encounter could emerge from the campsite, or the toilets; the shower block). Such encounters are interactive, co-authored, very mobile performances between actors and audience. They do not conform, there is no fixed performance space; no warning and may start as a viral, tiny seed which would gather momentum and become part of the crowd. Performance Encounters have four main features: Incongruity – with the event and the environment; Generosity – with the audience; Improvisation – working with the audience on the unexpected and accepting this and finally; Playfulness – enthusing the audience with a sense of play. It is heartening for the Outdoor Arts Sector to have Arts and Humanities Council funding for academic research into the art form.
How does the art form touch, influence and affect change in the lives of others? Hilary Westlake, considered quality, inspiration, engagement and risk under the umbrella question of why are we doing the work in the outdoors in the first place?
“Keep holding on to the ritual of pure art”, John Fox Founder and Artistic Director of Welfare State 1968–2006 and Director (with Sue Gill) of Dead Good Guides Another ARHC fellow and eminent practitioner of more than 40 years, John Fox, inspired the conference with his talk “A New Role for the Artist”. Here John talked almost entirely about inspiration and the true function of art, noting that often art gets lost in the rollercoaster of funding. John urged artists to convey a total human experience and reflect the world around them.
Her group concluded that work in the outdoors changes the way we see our cities and familiar spaces as well as challenging the way we think about social issues. Outdoor spaces excite performers and provide opportunities to subvert reality whilst enabling access for audiences who would not normally see art. The group also agreed that quality has a direct correlation to audience involvement and that performance needs to touch the audience and engage them on both a cerebral and emotional level. Live performance has the ability to create a powerful short term influence. High quality work is work which engages, challenges perceptions and provides the audience with tools to think. The group felt that participatory experiences added to the engagement mix, with active participation helping to make an audience more complicit and accepting of challenging work. On the question of risk, the group felt that funding and health and safety constraints can create limits and the absence of politics in street arts is a reflection of society. Artists feel that there is little encouragement from bookers/funders for challenging content. How do we create work of emotional and dramatic depth in an entertainment driven market? On the theme of challenging content, Mike Lister used one of his recent projects, a collaborative work at the Infecting the City Festival in South Africa, as an example of how street
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FEATURE
Photo © Soundwave
arts productions can embrace political content and can contain emotional and dramatic depth. Infecting the City is a privately funded festival which, in 2009, commissioned a series of transnational collaborations to create outdoor works that made a creative response to xenophobic violence in the country in 2008.
“… quality has a direct correlation to audience involvement and that performance needs to touch the audience and engage them on both a cerebral and emotional level. Live performance has the ability to create a powerful short term influence. High quality work is work which engages, challenges perceptions and provides the audience with tools to think.”
Mike’s presentation and discussion led to one of the key action points beyond Quest and the inspiration for a future follow up conference in 2010. Other key areas of interest for further exploration resulting from the Quest Conference included a call for more opportunities for practitioners to have the time and space to create together without the usual deadlines and the need for more published written articles on Outdoor Arts practice. In addition, as a result of the conference cabaret, emerging artists called for further opportunities to show new work/work to peers for critique. A follow up to the Quest Conference, dealing with the topic of Politics, emotional and dramatic depth in Outdoor Arts practice is to be held in Yorkshire in the Autumn of 2010. For further details please contact Bev Adams, Artistic Director, Faceless by email at bev@facelessco.com. To download a copy of the full Quest Conference report, go to www.facelessco.com.a Bev Adams is a director and outdoor performer, a fellow of the Royal Society for the Engagement in the Arts and a committee member of the National Association of Street Artists. Please note the Quest Conference is not connected to the South West’s Cultural Olympiad programme of the same name.
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FEATURE Rob Howell trawls through the policies of the UK’s political parties in an attempt to find anything on participatory arts. As the General Election looms, what do we need to know and, politically speaking, what will a post election participatory arts landscape look like?
I believe in motherhood and apple pie “in five years time it is likely that the creative industries in the UK will be as important to our economy as the financial services industries have been over the past fifteen years.” Liberal Democrats
There are some words and phrases that we hear politicians utter a lot, ‘Hard Working Families’ (I hate that one, Ed), ‘Aspirations’ and ‘Choice’. Choice is an interesting one in this context as there really isn’t a lot of it available when looking at the arts and cultural policies. Labour, Conservatives and the Lib Dems all say that the arts are important in themselves and not merely for their instrumental uses; excellence is more important than box ticking and that the British funding model of private and public sources is really good and to be kept. This article is more about trying to work out what the consequences of the forthcoming General Election will have on the work that we do. We’re not trying to comment on the policies but rather work out what we need to know. We are looking here at micro politics. What the broadly centralist politics of Britain thinks about arts and culture. This is more about nuance than ideology. In the past it was only really worth considering the policies of the Labour and the Conservative parties. As we go to print, however the polls seem to be suggesting a hung parliament. Who knows who will be sitting in the Culture seat in the next cabinet? To this end we’ve tried to take a look at the policies of the other parties who may end up bringing votes to a coalition government. This is not easy. Some of the smaller parties, either have no cultural policies or are ashamed to admit them.
When Gordon Brown announces the election date, (widely predicted to be May 6th), everyone will be in a rush to publish manifestos telling us how great they are, until then some parties are keeping their powder dry. We’ve provided links to those parties who are standing nationally including those in Wales, Scotland and Northern Ireland. Even when the manifestos are published it is sometimes hard to find arts and culture. It is hard to believe that to some it is just not important! Manifestos don’t have much detail. In the interests of equality, in doing this research I was forced to look at the policies of the BNP. (I had to lie down and cleanse my computer afterwards). In their 2009 council election manifesto they had a section on arts and culture and there was one, (only one) that I feel able to repeat here: “We believe that Councils should provide more support to local museums and historic buildings as well as to the encouragement of local arts and crafts and the promotion of local festivals” All very ‘nice’ but doesn’t really say very much does it? I shall leave the BNP there. It is highly unlikely, even if they do manage to get an MP that they would be involved in any coalition after the election. The Liberal Democrats have made my job here the easiest by publishing their proposals for the arts in a manifesto called “The Power of Creativity”. The document calls for creativity and culture to be
celebrated, and to be seen as important in their own right, as powerful drivers of our national identity, global standing and affluence. The Liberal Democrats believe the status of the arts and creativity should be raised across society and government. The policy proposals have come from Don Foster, (Shadow Culture Media and Sport) and claim to set out his vision of how to support the arts and culture and celebrate creativity in this country. The introduction praises the arts, suggesting that “the creative industries are seen by many to provide our best route out of recession” and that “in five years time it is likely that the creative industries in the UK will be as important to our economy as the financial services industries have been over the past fifteen years.” It calls for “nurture, support and respect from government”, and asks that the status of the arts be raised. The paper includes proposals to: > Place greater emphasis on supporting excellence and recognising achievement in the arts, so that they are no longer seen as an after-thought or added extra > Introduce a cabinet committee on creativity responsible for securing cross-departmental support and increased levels of joint working, so that creative industries contribute to wider policy objectives > Ensure that Arts Council England (ACE) finances risk and innovation as well as established organisations > Work with ACE to improve the distribution of funding and the
The three main party arts and culture spokespersons. Left to right: Rt Hon Ben Bradshaw MP, Secretary of State for Culture, Media & Sport. Don Foster MP, Shadow Culture Secretary Jeremy Hunt MP, Shadow Culture Secretary
reach of the arts in the regions and cities outside London > Encourage local authorities to maintain their commitment to the arts and culture and to use cultural projects to achieve wider policy goals > Encourage local councils to use culture to rehabilitate offenders and raise aspirations of the socially excluded. > Embed culture and creativity as a key part of every child’s education, both freeing up more time in the curriculum for pupils to take part in creative subjects and bringing creative teaching practices into subjects across the educational spectrum Foster explained that “this set of policies demonstrates our commitment to the arts and creative industries and our belief in their central importance in our society”, adding that “the future we want is a country fulfilling its creative potential.” The Power of Creativity can be downloaded from: www.libdems.org.uk On the Conservative Party website there is a video of Jeremy Hunt, the Shadow Secretary of State for Culture Media and Sport. In which he describes the DCMS as being responsible for “… quality of life – things that really matter but not usually things related to things that happen in the workplace” It’s a bit worrying that a man in his position seems to be unaware of the value of the Creative Industries. Clearly someone in his team has thought about it but I think they’re confusing us with BT; “We will also help to rebuild our broken economy by working with the creative
industries to ensure the majority of the population have access to the next generation high speed broadband within five years” (Any mailout readers got any cable?)
studies. He also dislikes the current “movement away from subject disciplines and towards cross-cutting, thematic, multi-disciplinary learning” (Shares in a slate quarry anyone? Ed)
They do recognise that “Culture, media and sport are all vital for our quality of life, as well as being huge generators of wealth and prosperity for our economy.”
The conservatives are promising new policies on the arts and music for young people to be announced. www.conservatives.com/Policy/ Where_we_stand/Culture_Media _and_Sport.aspx
They are still very proud of the national lottery which John Major set up following the last recession to regenerate the construction industry. They want to stop the government getting it’s greedy mitts on it though “(Labour)have continually raided Lottery funds for other government projects– and we would return the Lottery to its original purpose. Our reforms would put an end to any further government interference and ensure a greater share of Lottery funding goes to the arts, sport and heritage, allowing them to prosper and thrive.” The Conservative Party claim to be “committed to fostering an environment in which sport, the arts, and the creative industries can flourish, and in which people can take control of the most enjoyable aspects of their lives.” Outside of Hunt’s portfolio the Tories are proposing an increased role for voluntary organisations and charities in fixing social problems – especially at a local level. Michael Gove, shadowing education, is planning a “ Return of Conservative values and discipline”. He wants to shift “the balance of power in the classroom back in favour of the teacher”. He wants an end to softer subjects like dance and media
Labour has been in charge for the past thirteen years and as far as we can tell don’t plan a radical departure from current policy if they’re returned to power. Ben Bradshaw currently fights the corner for Culture Media and Sport in the cabinet. Labour believes that “… sport, the arts and culture play an integral part in enhancing the quality of life for everyone, and uplifting community well-being, as well as making a significant contribution to Britain’s economy.” (No I’m not repeating myself. The do all say the same thing – Ed) They don’t seem able to explain their policies without telling us what they’ve ‘achieved’ so there’s not much that is new. The difference is that they talk of participation and volunteers in a way the Conservatives don’t. They also seem to have a more realistic idea for solving the issues around high speed broadband. They believe in an “Active industrial policy to ensure we make the most of the digital revolution, and in making the necessary investment in our digital infrastructure now.” (Now, this minute? Oh you mean after the general election).
“[the Conservatives are] committed to fostering an environment in which sport, the arts, and the creative industries can flourish, and in which people can take control of the most enjoyable aspects of their lives.” Conservatives
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They want to “… open up the arts and culture to as many people as possible, building on the Find Your Talent and free theatre schemes, as well as free museums and galleries.” We’re clearly stuck with the “Find your Talent” title for a bit longer and there’s no mention of Creative Partnerships. “[Labour believe in an] Active industrial policy to ensure we make the most of the digital revolution, and in making the necessary investment in our digital infrastructure now.” Labour
Whilst we’re on schools, Labour want to develop the idea of them being social hubs in the community and a new raft of commitments around the Fair Access to Professions Panel which will include access to arts and creative industries. They will set up a network of “Arts Explorers” schemes for 5 to 11 year olds which will provide early access to a variety of arts and cultural activities. Unlike the Tories they want scale up the “soft skills”. www.labour.org.uk/culture-mediasport-policy The Green Party are looking to win their first Westminster seat with all eyes on Brighton. Their published literature on arts and cultural policy is a bit thin. They believe that “Culture and sport are two important elements through which social identity and a sense of community can be promoted in large social groups such as communities rather than those, which are formed by personal relationships.” A bit long winded but I see what they’re getting at. They also see that “The rise of new media at the beginning of the 21st Century can be seen as a public expression of a need for better access and improved participation.” (Some would feel the opposite to be the case –Ed)
FACTFILE
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FEATURE “Green policies should look to democratise access to culture, media, and sporting activities, ensuring that individuals are not left out because of age, gender, social, ethnic, economic or geographical factors.” (Not sure that that’s just a green policy but….) Arthur Scargill’s Socialist Labour Party believes that “Everyone by right should be able to take part in and experience music, dance, drama and the visual arts including painting and sculpture. Observing and/or participating in all art forms enriches our own lives, our understanding of one another and thus of our society.” (Interesting that painting and sculpture has been singled out) I have failed to find anything relating to arts and culture from the Respect Party or the Socialist Party. The Monster Raving Loony Party have lots of policies but nothing related directly to culture. I did however like this one: “All socks to be sold in packs of 3 as a precaution against losing one.” Culture is devolved in Wales, Scotland and Northern Ireland so any stated cultural policies of nationalist or Northern Ireland parties don’t relate to the UK as a whole or England. Plaid Cymru are surprisingly quiet about arts and culture for a nation so steeped in it. They support the arms length principle. The SNP are similarly reticent though they publicly recognise the value of arts and culture to the economy.a
NORTHERN IRELAND Nelson McCausland, the current Minister of Culture, Arts and Leisure in the devolved government represents the DUP though it is very hard to find what he or the party really stand for. He is keen that Northern Ireland is known for quality architecture. Sinn Féin want to see an all Ireland approach to the arts and believes that Community Arts provide individual development and community empowerment and should be given a special designation within arts and culture policy and budgeted accordingly. Sinn Fein are unlikely to be asked to prop up a UK coalition as they decline to take up their seats at Westminster. “Everyone has talents, and arts and culture plays a very important role in ensuring individuals can realise their innate abilities. Developing those opportunities lies at the heart of Ulster Unionist (party) policy.” The most up to date information that I can find for the SDLP came in a 2005 manifesto. Their goals included increased funding for the Arts Council to ensure parity with England, Scotland and Wales and developing a crossdepartmental strategy linking all relevant agencies in the development and promotion of community arts. The Alliance Party’s most recent paper, though comprehensive, was written in 2001
Political parties web sites The Alliance party (Northern Ireland) www.allianceparty.org The British National Party www.bnp.org.uk The Conservative Party www.conservatives.com The Democratic Unionist Party (Northern Ireland) www.dup.org.uk
The Respect Party www.therespectparty.net The Scottish Green Party (Scotland) www.scottishgreens.org.uk The Social Democratic and Labour Party (Northern Ireland) www.sdlp.ie Sinn Féin www.sinnfein.ie
The Green Party of England & Wales www.greenparty.org.uk
The Scottish Nationalist Party (Scotland) www.snp.org
The Labour party www.labour.org.uk The Liberal Democratic Party www.libdems.org.uk
The Socialist Labour Party www.socialist-labour-party.org.uk
The Monster Raving Loony Party www.omrlp.com
The UK Independence Party www.ukip.org
Plaid Cymru (Wales) www.plaidcymru.org
The Ulster Unionist Party (Northern Ireland) www.uup.org
The Progressive Unionist Party, (Northern Ireland) www.pup-ni.org.uk
The Socialist Party www.socialistparty.org.uk
As this issue of mailout goes to print we’re waiting for Gordon Brown to announce a General Election. Speculation is that May 6th has been marked up in his diary for us all to wander down to the nearest primary school and exercise our right to democracy. There are lots of different issues to consider in this election: the economy, foreign policy, MP expenses etc. etc. but what does the future hold for participatory arts? Whichever party, or combination of parties, forms the next government the next Chancellor of the Exchequer is going to be cutting and cutting hard. Some areas will fare worse than others as the government prioritise what is expendable. We at mailout are not naive enough to think that Messers Brown, Cameron and Clegg are spending sleepless nights worrying about the plight of
participatory arts or even that it will be at the forefront of electors minds as they ponder where to place their cross. Parties will, however need to have a policy. To this end we asked our readers and the participatory arts community one simple question: What single policy, related to participation in the arts, would you like to see in the manifestos leading up to the general election? There is still time for you to add to the list via the mailout Facebook Page. We will forward all suggestions received by the end of March to The Labour Party, The Conservative Party, The Liberal Democratic Party, The Green Party, UKIP, The Socialist Party, The Socialist Labour Party, Respect, The SNP, Plaid Cymru and the Northern Irish Parties.
The mailout
’ s r e d a Re o t s e f i n Ma
This party will realistically invest in organisations that function (on the ground and at the chalk face) with voluntary support and outside the public sector to enable them to develop into sustainable social enterprises. Recognition that the present reliance on the Voluntary Sector to deliver services needs to be supported by actual money and not more organisations that help organisations that help organisations. Chris Agnew, Funny Wonders, www.funnywonders.org.uk This Party believes in: compulsory space for visual art in all areas; free studio space for visual artists, eg. empty shops used by artists; communal print studios subsidised by councils and free exhibition venues for artists, with little or no selection criteria. ArtCo, The LevelBest Art Cafe, www.dacontrust.co.uk
This Party believes in more funding for small scale young people led projects with simple funding applications. Cany Ash, Ash Sakula Architects, www.ashsak.com This party will develop a rationale around funding all the arts. Resources and finances are the major barriers to accessing and participating in the Arts. Riaz Begam, Youth Worker, Blackburn with Darwen Borough Council In the Palazzo Publico in Siena is a piece of art work the depicts the effects of Good Government and Bad Government. Effeti del Buongovernmento depicts people dancing in the street and being happy and healthy. This party believes that an evolved and civilized culture needs participation in the arts at all levels to survive let alone to thrive. Jude Bird, Creative Producer
This party believes that a life without the arts and great cultural experiences is limited – we learn from enjoying and debating art and culture. At present everyone does not have equal access to the wealth of culture that Britain has to offer. We would like to see more support for children and families to have access to a range of cultural activity. CCE’s research has demonstrated that parents want to enhance their level of engagement with arts and culture and what we need is a way to ensure that this can happen in practice. Paul Collard, Chief Executive, CCE, www.creativitycultureeducation.org This party pledges to remove the pointless bureaucracy that results in us all in the participatory arts sector doing the following rather than creating art and changing lives: > filling in forms; > acting in the interests of funders not our users; > counting statistics not working with people;
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FEATURE > fitting our activities to meet funders targets; > ticking boxes not transforming lives; > dealing with repressive contract specifications and targets; > engaging in time consuming competition for contracts; > battling through top down hierarchies to get someone to make a decision; > completing mechanistic and uncritical quality assurance systems; > being straight jacketed by prescriptive and uniform practices The hypocrisy of ‘accountability for public money’ by bureaucrats who waste millions of pounds of public money in imposing pointless burdensome wasteful measuring systems has got to be stopped. Lets have accountability but remember the mantra: LESS IS MORE Noel Dunne, Creative Producer, www.jobdunne.com This party believes that the arts should be a statutory function of government on a par with education and taken seriously, rather than being a constant ‘easy target’ for funding cuts in hard times. Jacqueline Greaves, JG Projects, www.jg-projects.co.uk This party will develop a strategy that will lead to focussed investment in developing the capacity of cultural organisations to respond effectively to the growing commissioning culture. The IDeA have started the ball rolling with their excellent report, “Creating Better Outcomes for Children and Young People by improving the Commissioning of Cultural Services” www.idea.gov.uk/idk/aio/14269000 The Arts Council is putting together a plan to support these developments but a strong lead needs to come
from government to ensure that the cultural sector are best positioned to contribute to better outcomes for children and young people through increased involvement in commissioning. Chris May, Curious Minds, www.curiousminds.org This party believes that the proportion of funding that is focussed on participation in the arts should be radically increased at the expense of the cultural institutions that create high art for the elite few. Pete Moser, More Music in Morecambe, www.moremusic.org.uk This party will bring participation in the arts to the national attention as a priority and commit additional funds to the Arts Council that are ring fenced specifically to increase participation and not just attendance Leroy Philbrook, Pendle Leisure Trust, www.pendlelife.co.uk/roundabout/op encms/pendle_leisure_trust This party believes that Gross National Happiness is a better indicator of a country’s true wellbeing than Gross Domestic Product. With this in mind, arts and creativity are central to our plans for a better society. The amount spent on participatory creative activity is an indicator as to how civilised we are as a society. We believe people should be able to participate in, and enjoy the arts for their own intrinsic value. We value and look forward to receiving videos, postcards, books, cartoons, films, plays, songs which tells us wonderful stories of people having an enjoyable time and feeling great about themselves. We have no interest in statistics Sue Robinson, Robinson Howell Partnership and Co-Editor of Mailout, www.robinsonhowell.co.uk
Other arts manifestos In the last issue of mailout we featured the Manifesto for participation in the Arts and Crafts. Developed by representatives from national organisations, with the support of Government departments and Arts Council England the manifesto exists to provide the means of pulling participatory organisations and groups together, to work coherently towards a shared goal. From their research, almost all groups have an interest in increasing and diversifying participation and this manifesto has been devised to mobilise the widest possible constituency of arts organisations through a representative coalition. www.participationinthearts.net
This Party believes that broadcasters must provide a significant and defined percentage of arts coverage Russell Tennant, Arts Development Officer, Lancashire County Council This party believes that the value of the participatory arts in promoting social inclusion has been widely recognised but this has not led to sustained funding allowing the true potential of the work to be achieved. We will cease to develop hit and run funding such as the Working Neighbourhoods Fund, Inspiring Communities and Extended Schools, where humongous amounts of money are thrown at a particular problem for 15 – 18 months, and then promptly cut off. Instead there should be a more consistent process which can genuinely build capacity, working with the participatory arts sector rather than holding periodic feeding frenzies. Rick Walker, Cartwheel Arts, www.cartwheelarts.org.uk The best education systems have creativity at their heart. Creativity and creative thinking is not only good for the soul it is the underpinning force to transform thinking and lives. Creativity is about questioning and making connections and then finding solutions together. Our futures are dependent upon young people who have the ability to reason, imagine and challenge themselves. Innovative solutions are what our workforce will need for their futures and the country as a whole. Risk taking and developing imagination develops the whole person and facilitates self confidence and independent learning. Creativity isn’t about vague practice and arts and music – it is about improving skills, performance and standards. Judith Williams, Peel Park Primary School, (School of Creativity), www.peel-park.lancsngfl.ac.uk
The National Campaign for the Arts have also developed and published a manifesto for the arts. Their vision is of a United Kingdom where the lives of all citizens are enhanced by the experience of excellent cultural and artistic activities, where artistic endeavour and achievement are highly prized and where the creative potential of every man, woman and child is realised. They have also developed an excellent General election advocacy toolkit describing ways to contact your prospective candidates and how to engage them in the arts debate. Both documents can be downloaded from: www.artscampaign.org.uk The manifesto also has a Facebook page – search for arts manifesto on Facebook and it comes top of the list.
Claim and Shame – a new political comedy
CITY OF CULTURE? YOU’RE HAVING A LAUGH!
Keeping with Political debate, we thought you might be interested to know about a recent production premiered by a company called Baseless Fabric Theatre Company. “I know, I know, you’re a serious and idealistic person, that’s why you’re in politics, and this expenses system doesn’t seem quite right to you. Am I right?”
With Barnsley in the running for the prized accolade of becoming the inaugural UK City of Culture in 2013, poet, broadcaster and comedian Ian McMillan ponders the chances of a gritty northern market town becoming the culture capital of the UK. I was watching Match of the Day sometime in the early months of 2008; Manchester United were playing Liverpool, and over the sound of the commentator you could hear the unmistakeable noise of thousands of Man U fans chanting ‘City of Culture ? You’re having a laugh!’ towards the mass ranks at the Liverpool end. I guess that many people would have had the same reaction when they heard that Barnsley was in the running for City of Culture 2013, because they don’t look beyond the flat-capped whippet-toting mufflerwearing cliché. If ever Barnsley is featured on the aforementioned Match of the Day, you can’t move for BBC producers searching for a pithead or a couple of old blokes who are about to release a basket full of pigeons into the dark Northern sky. It’s lazy thinking, I guess: the kind of lazy thinking that will always consign Barnsley to some sort of rusty culture-free wilderness. When I met the people who were putting Barnsley’s City of Culture bid over an espresso in the cafe at the gorgeously renovated Civic Theatre, we were almost absurdly confident about our chances. Maybe it was the strength of the espresso, perhaps it was a kind of innate Barnsley optimism or a feeling that maybe, just maybe, the underdog can come out on top. There’s plenty of culture in Barnsley, of course, partly due to Barnsley’s long history of collectivism
and community-based activity. There are choirs, and brass bands, as you’d expect; it may be more surprising to learn that there are contemporary dance groups, enterprising small art galleries, fashion designers, singersongwriters and poets all over the borough, making Barnsley their home and often using Barnsley as a basis for their work because this area is an area struggling with change. This is an attempt to redefine itself at the start of a new decade by looking to the future through the prism of the lessons learned from a harsh and unforgiving history. Take the Lamp Light project, for example; a redefining of the old pit shafts with high powered beams of light in the night sky; a striking metaphor of light out of darkness and an upturning of expectations of what the visual postindustrial landscape can be. And what better conditions, what better catalyst for a growth and dissemination of culture? Europe just before the First World War, anybody? America at the end of the monochrome 1950’s? So now we’ve put a marker down; we’re on a kind of long shortlist and, to continue the football theme I began with, we’re like a non-league team up against a Premier League bunch in the third round of the FA Cup. But we all know what can happen in the FA Cup: didn’t humble old Barnsley get to the semi-final a couple of years ago? Just watch us progress through the rounds. City of Culture? See you in 2013. And the espressos are on me!a © Ian McMillan For further details contact James Brunt, Arts Development Officer, Barnsley Council T: 01226 773512 E: jamesbrunt@barnsley.gov.uk
Stop Press Sorry Barnsley didn’t make it but as they say themselves, “This is not the end of the dream. The bid has been a successful exercise in creativity, imagination and celebration.” The shortlisted cities are: (London) Derry, Birmingham, Sheffield and Norwich.
Just before Christmas, in a small theatre with big ideas was a bold new performance called Claim and Shame, a new comedy based on the MP expenses scandal. Newly elected Labour MP Meg Jones finds herself in the front line of the expenses scandal, while her husband Doug falls for a classic newspaper honey trap. Their lives and their marriage disintegrate before the relentlessly cruel headlines. But was it all their fault – or are they convenient scapegoats for much bigger fraudsters? The play exposes the ruthless calculating of those in power, and the pressures of a life lived under the scrutiny of the press and public. This collaboration between director Joanna Turner and playwright Francis Beckett presented as a work-inprogress to some very receptive audiences. “The run we did at Theatre 503 went really well and we had some great feed back. We are now starting to look into to organising a full run of the play.” The Claim and Shame production team hope to find funding for the play from various new writing funds, the Arts Council and political organisations that may donate to develop a production, preferably at an established new writing venue like Theatre 503 or the Finborough. “We are looking to make the play predominantly about the expenses scandal, however we wish to make this a theme that indicates the larger issue that parliament and its MPs face today, and how this is changing the way the public perceive politics and how the politicians do their jobs.”a For more information: E: baselessfabrictheatre@yahoo.co.uk
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Up for arts
In March 2009 the government produced the Learning Revolution white paper, which described a new vision for informal adult learning in the 21st century and the steps needed to be taken in order for learning to grow and flourish. The paper examines the government’s ambition for informal adult learning to be readily accessed and widely available to everyone. It looks towards ensuring that inspiring opportunities are made available to everyone, in every community, but highlights those who find these types of opportunity more difficult to access than others. The Learning Revolution paper places emphasis on the depth of activities which fall under the banner of informal learning: “According to Our Creative Talent: the voluntary and amateur arts in England, commissioned by the Department for Culture Media and Sport and Arts Council England in 2008, there are currently in excess of 49,000 voluntary or amateur art and craft groups in England, accounting for an estimated one fifth of all arts engagement.”
It could be a dance class at a church hall, a book group at a local library, cookery skills learnt in a community centre, a guided visit to a nature reserve or stately home, researching the National Gallery collection on-line, writing a Wikipedia entry or taking part in a volunteer project to record the living history of a particular community… They may not call it education, but this informal adult learning makes a huge contribution to the well-being of the nation. Learning Revolution White Paper The white paper outlines how informal adult learning bring large benefits for individuals and their communities as it promotes increased social interaction, raises cultural awareness and contributes to health and well being through elevating confidence, social skills and enjoyment. In addition, informal learning can be seen as an important stepping stone towards further learning, qualifications and employment.
According to Our Creative Talent: the voluntary and amateur arts in England, commissioned by the Department for Culture Media and Sport and Arts Council England in 2008, there are currently in excess of 49,000 voluntary or amateur art and craft groups in England, accounting for an estimated one fifth of all arts engagement. These groups play a vital part in offering over 9 million people the opportunity to regularly participate in the arts and crafts. They help to unlock potential, eradicate apathy and build strong, happy, independent and fulfilled individuals and communities. Voluntary Arts England advocate for increased resources to voluntary and amateur arts and crafts participation and raises awareness of the contribution that arts participation makes to the well-being of communities, social inclusion, lifelong learning, active citizenship and volunteering. The £20million Learning Revolution Transformation Fund, launched by Government to offer grants for more than 213 innovative informal adult learning projects in England, will bring to life The Learning Revolution white paper. The projects, many spearheaded by partnerships between public, private and third sector organisations, will help improve mental health, physical well-being, active citizenship and community cohesion, as well as providing a stepping stone towards further learning, qualifications and employment for many people. Up For Arts is one such project that received funding from the Learning Revolution Transformation Fund. It’s a ground breaking legacy project which encourages, supports and profiles grassroots participation in
art and craft forms across the whole of Merseyside. Delivered by Voluntary Arts England in collaboration with BBC Radio Merseyside; it aims to increase interest and participation in informal learning using selforganised voluntary arts groups as the lever for transformation. So why Liverpool? The project aims to build on the legacy of the Capital of Culture ‘08 and aims to strengthen current creative opportunities within disadvantaged communities across Merseyside. The Department for Culture Media and Sport’s research Our Creative Talent (2008) shows that in Liverpool there are 354 formally constituted voluntary arts and crafts groups and that accounts for 43,225 individual members. With the population of Liverpool totalling 435,500, if the Up For Arts project involves just 2% of the non participating population of Merseyside through its activities it will reach 7844 participants within 6 months. The new exciting project is creating waves around Merseyside leaving a trail of paint brushes, crayons, wool, instruments and paper in its wake. How does it work? Over the coming months, Up For Arts will be hosting a series of open arts participation events which will take place in numerous locations across Merseyside. The events which will be publicised on BBC Radio Merseyside aiming to enthuse and motivate involvement in arts and crafts, giving individuals hands-on experience in a whole host of activities, develop their skills and help them find local opportunities to continue participation. The project aims to raise the profile of voluntary arts and crafts both on and off air and turn those passive listeners into active ‘doers’.
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Up For Arts has a number of layers but with five main areas of focus; on air radio programming, showcases and events utilising the BBC Radio Merseyside space, helpline support, online information and guidance, and outreach events which will be held in local community venues. On air, the project is promoted through radio features, slots, bulletins and promos. Furthermore, the ‘What’s On’ features include arts bulletins, weekly arts ‘spotlights’ which feature local groups that are keen to open their doors to new members or tell their arts and craft stories. So far, there have been great features on the Wirral Pipe band, Merseyside Guild of Weavers, North End Writers, Purlesque (a knitting and crochet group based at the Bluecoat) and Ray Jones a master craftsman who specialises in wood turning. BBC Radio Merseyside has always been proud of its position as the community station for the people of the Merseyside and Cheshire and we’re delighted with the partnership with Up for Arts. I’m sure our listeners will benefit hugely by coming along to the events and joining in the activities; it’s a true legacy of Liverpool’s status as Capital of Culture in 2008 on a grass roots level so everyone can join in. Mick Ord, Managing Editor, BBC Radio Merseyside The project has fantastic support from the A-team, a group of volunteers housed at BBC Radio Merseyside, who run the ‘arts and crafts helpline’ (0151 794 0984). The public are encouraged to call in with their enquiries and queries and the team will sign post opportunities in their area. They are currently working away, gathering together all the information about arts and crafts across the whole of Merseyside, from
animation to acting, brass bands to ballroom dancing, film making to folk dancing, photography to pottery, wood turning to writing and every nook and cranny in between, there will be a plethora of opportunities to point callers to. Up For Arts, like many of the projects funded through the Learning Revolution Transformation Fund, harness partnerships with a variety of organisations. This Merseyside project has support from The Media Trust, People’s Voices Media and Liverpool City Council all of whom are enabling the project to reach a wider range of participants and utilising their large networks of support, resources and knowledge. Up for Arts showcase event The weekend of 30th/31st January saw a showcase event for the Up For Arts Project. The fun filled two day event compromised of free drop in arts and crafts activities and workshops for adults and also acted as a celebration of creativity happening across Merseyside. Over 800 people came through the doors and got involved in a variety of fantastic hands on workshops; wood turning, crochet, weaving, felting, drawing, painting, ceramics and paper origami making. There was a manned information point where anyone could get more information on any of the activities taking place on the day, as well as further arts and crafts activities happening around Merseyside. I heard about your workshops on Radio Merseyside, I talked my husband Bob into coming with me. We had a go of Origami making a bird with Anthony, being pensioners we needed a lot of help, he had a lot of patience with us, we enjoyed it, I was sorry we did not have more time to have a go
at something else. I would recommend it to anyone that is looking for a new hobby. Mavis Iddon, Participant at Up For Arts showcase event Plans for future events are well under way, and will all get people participating, making and doing! Voluntary Arts England will capture the results of the project and will share its findings.a In the mean time, you can join the arts and crafts revolution by visiting W: www.upforarts.co.uk.
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FEATURE Bev Adams, Artistic Director of Faceless gives us her take on the importance of street arts as a forum for political debate. Bev is a director and outdoor performer, a fellow of the Royal Society for the Engagement in the Arts and a committee member of the National Association of Street Artists.
Politics and
Illustration by John Welding
“Has the time come for street artists to challenge the status quo? Should we try and steer the agenda away from the delivery of targets to the creation of work that challenges perceptions and stimulates new ways of thinking?”
Street Arts has its roots in Commedia, which some historians claim developed as a response to the political and economic crisis of the Italian Renaissance (16th Century). Political satire in outdoor theatre was further developed in the Punch and Judy puppet shows of the 19th century though the depiction of the outrageous struggle of Mr Punch with family life, law and order and the devil. The protest happenings of 1960’s developed into the Tactical Frivolity of the Solidarity movement in the 1980’s Poland and the more recent anti-capitalist protests at G8 summits. In 21st century Britain, buskers have to be licensed, protesters need permission and the pay masters of many professional street performers are local authorities. What opportunities are there for street artists to create contentious, inciting and thought provoking work? Local Authorities are by nature political organisations striving to meet a host of political objectives– such as NI11 engagement in the arts targets, regularity impact assessments, community cohesion agendas. On the up side, Street Arts delivers well against these agendas and street artists benefit from the
paid work they glean from ticking these boxes. On the down side, street artists are often used as quick fix pacifiers for disenfranchised communities and their work is used (often without credit) to provide the pretty picture in the promotion of UK towns as destinations. Has the time come for street artists to challenge the status quo? Should we try and steer the agenda away from the delivery of targets to the creation of work that challenges perceptions and stimulates new ways of thinking? Ned Evans, from Creature Feature, recalls a number of occasions that she has been asked by clients to “leave out the message” in her street performance about the plight of the mountain gorilla. The reason being … “Audiences just want to be entertained”. Whilst many presenters are particularly attuned to the need to provide spectacle shows reaching audiences of thousands in the run up to the Olympics, not many street artists/companies are proposing work of “intellectual rigor”, yet there is a desire from UK promoters and producers to see more work of this nature.
How does spectacle engage the audience emotionally and intellectually? High quality street spectacle is often about inviting the audience to take a fresh look at their surroundings. Imprints left by ephemeral large scale street arts works on the audience minds’ eye often permanently changes their perceptions of that place. Back to the smaller scale, Paschale Straiton talked about her up and coming project based on Punch and Judy, one the outcomes of which is to facilitate the audience/general public to write letters to the government. The letters are posted. When asked if the company censored/vetted these letters she replied that the public where normally polite in their requests as they were mindful of who they were writing to. Public space is increasingly privatised, controlled and licensed and working in the public realms brings with it a number of restrictions and limitations. In order to make impact and draw focus away from the general hubbub of the public space, practitioners tend to work in broad brush strokes, using archetypes and simplistic storylines. Complex narrative and dialogue is not always
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Photo © Amanda Crowther
content in outdoor arts effective in the street and narrative does not necessarily need to be the driver of the message. The emotive visual image can speak a thousand words and have great impact. Who is out there and do they really want to hear your views? With theatre (indoors or out) we should be creating a space where change is possible and where people are able to listen, but more importantly, where people feel able and invited to engage. What is the language of engagement? Tapping into universals helps – food, shelter, the human element. The Faceless Company have, for the past three years, been working on performing a complex spiritual epic journey in the street. Based on a 13th century Sufi poem, Conference of the Birds is an epic journey of a group of birds in search of enlightenment and self-fulfillment. Like many other street arts companies Faceless uses broad brush strokes. Bird characters are metaphors for human archetypes and the use of mask and exaggerated costume helps the company to deliver easily recognisable characters that have dramatic depth and the ability to display deep emotion. The narrative is
distilled to physical action, complimented where necessary with a few lines of narration. What makes the Faceless project unique is that the show is re-rehearsed for a week prior to each performance with members of the community as the protagonists. The company of three professionals – an actor, a director and a technician all take a back seat to facilitate the communities’ input. This empowerment of the community to perform for their peers makes each performance unique and strengthens the meaning and relevance of the message.
more often than not, such shows preach to the converted. Those shows that are successful in helping us to change the way we perceive the world often do so through their presentation of the human condition and social interaction. The development of empathy for the plight of an individual is a deeply political act and opening an honest and generous line of communication with the audience on a particular subject creates the possibility for dialogue and development of ideas beyond the life span of the performance.
So what do we have to get political about? With a loss of faith in our political and economic systems and fear that our social structures seem to be in decline, is it the role of the performer to present an argument or a political standpoint?
In response to the lack of meaningful political, economic and moral structures in the 21st century Britain, I think is time to get political … in a socially engaging way!a
Being political does not mean being polemical. Telling people what you want to say (especially if they don’t want to hear it) could be seen as being the politics of oppression whilst provoking people to think about subjects they would rather avoid is an important role of the artist in society. Politics as content in performance is problematic and,
Bev Adams, Artistic Director, Faceless www.facelessco.com Composed from discussions with theatre practitioners and street artists at two recent events held in January 2010, namely Improbable Theatre’s Devoted and Disgruntled 5 in London as well as PifPaf and Impossible Theatre’s For the Love of It in Slaithwaite, West Yorkshire.
“Politics as content in performance is problematic and, more often than not, such shows preach to the converted. Those shows that are successful in helping us to change the way we perceive the world often do so through their presentation of the human condition and social interaction.”
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Community theatre
John Somers is a freelance theatre worker and academic. He works extensively in the UK and internationally and is currently an Honorary Fellow for University of Exeter.
a search for identity
of community stories. They were a major part of the ‘social glue’ which binds individuals together. Residents without access to these, often apparently inconsequential stories, therefore lack a ‘sense of place’, a quality which is best achieved through absorbing the layered meanings accreted through centuries of, often oral, storytelling and shared experience.
Photo © John Somers
“Many people I meet seem to have no obvious need for contact with the community. They have moved to rural Devon and their cars, relatively high incomes, ease of communication – mobile phones, the internet etc – insulates them from community dependence.”
According to the 2008 report Changing UK: the way we live now, social isolation moves inexorably to create fragmentation in our communities. The report reveals that the South West of England where I live has the highest levels of ‘anomie’ (a sense of ‘not belonging’) of any English region after London. Individuals appear to be withdrawing into self and family and there is evidence that communal activity is decreasing whilst isolated, individual action increases. Many people I meet seem to have no obvious need for contact with the community. They have moved to rural
Devon and their cars, relatively high incomes, ease of communication – mobile phones, the internet etc – insulates them from community dependence. They could be picked up and dropped anywhere and, apparently, function as selfdependent units. But if community is to flourish, some form of interdependence must exist. In rural Devon, the days of agricultural co-operation have long gone. Work previously conducted by many hands is now achieved by one worker and huge mechanised implements. One great loss in current rural communities is the knowledge
Community Theatre, a concept and resultant activity of the 60s, aims to animate communities to make original theatre which springs from the community’s seminal stories . Ann Jellicoe and the Colway Theatre Trust subsequently blazed the way with a number of exciting West Country community plays but, generally, those communities, and similar ones nationally apparently have returned to the round of farces and pantomimes so loved by the amateur theatre world. My adventure began when I was asked by a parish councillor, Alf Boom, if I would make a theatrical event to celebrate the new millennium. The result was ‘Parson Terry’s Dinner’, a promenade production which happened in seven different locations in Payhembury village, East Devon. A millennium book of community stories had been published and I selected seven of those which had dramatic potential. Each scene took place in the location where the original event happened. The audience gathered in the village centre just before the start of the play; there it was divided into seven equal groups, the groups being limited to nineteen to allow each to enter the smallest space, the house
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FEATURE
Photo © Andrew Cowan
kitchen. Each group was led by a storyteller to visit the seven scenes in an order different from the other six groups, thus ensuring that only one group was present at each scene at any one time. On the journey between scenes the storytellers related additional stories about the village. Individual scenes lasted around ten minutes and the finale twenty. As all audience groups witnessed all scenes, the actors performed each scene seven times a night. The scenes comprised of a selection of events through history such as, the dragging of the Parson from the pulpit as Cromwellian soldiers objected to the Parson’s support for the Royalist cause, an inspection of the school children by a visiting inspector who tests the children on their basic subject skills, the arrival of three child evacuees from London who were sent to the countryside to avoid Second World War German bombing, a drunken argument, the arrival of the first car to the village, the unveiling of the Parish War Memorial to commemorate the dead of the First World War, 1914-1918. The finale comprised a specially written song sung by a 14 year-old girl who symbolically, through the gift of a parchment declaration, gives the future of the Parish to the youngest children of the community. She also gives to them the stories we have performed and urges them to live many more in the future. The play was a success both artistically and in generating social capital. The community seemed to feel ‘good about itself’ in being able to come together in such an effort which attracted admiration from
other communities and theatre professionals. Tale Valley Community Theatre was established and further original projects followed: a cabaret involving local talent in 2001 and in 2002 a pantomime involving characters from eight different traditional panto stories. 2003 brought ‘The Living at Hurford’ an Interactive Theatre programme written by me which dealt with issues in farming following the 2002 Foot and Mouth Disease outbreak. In this production the story ended at a crisis point and audience members were invited to reflect on how things had reached this state and, after talking to the people in the story, to advise them on how they might take positive routes forward. This production toured to The Tacchi Morris Arts Centre, Taunton and to the Phoenix Arts Centre, Exeter. In 2004, a series of theatre skills workshops was held, covering aspects of music, writing, directing, set design, technical and marketing. Many good things followed, including a new community play written by first-time playwright Rose Watts. Her promenade play ‘Foresight’ focussed on the real crash of a German Junkers 88 bomber in the Tale Valley on 1941. Extensive research was conducted and verbatim accounts of the crash were collected. Relatives of one of the German airmen (all were killed in the incident and are buried in an Exeter cemetery) attended a performance which happened in a marquee near the spot where one of the airmen fell. At the end of the performance, the Spirit of the River Tale led the audience from the marquee to the spot where the Germans fell and as
“The emphasis in all of this is making theatre in the community not taking theatre into the community.”
the son of the farmer who found the body told the story, a real 2WW aircraft flew over head trailing smoke and disappearing in the direction where the real bomber crashed. Since then, a series of workshops resulted in 18 New Talking Heads, 15 minute monologues which were performed locally, toured and made into filmic versions in a studio following storyboarding by first-time community artists. We also performed a locally written adaptation of Wind in the Willows in a stand of redwoods, with Toad actually boating on the River Tale. Currently we are planning a Verbatim Theatre production with material from forty interviews with people involved in agriculture and a site specific production in a 15th century house. We make use of the local dormant skills – the storyboard artist lives in the village and works for major film companies and many of the props for Wind in the Willows were painted by a local man who worked with Joan Littlewood. East Devon District Council is open to the idea of introducing cultural animateurs in local communities so let’s hope the approaches described here can be taken up more widely.a J.W.Somers@ex.ac.uk Further material about Tale Valley Community Theatre can be found at www.taleval– leycommunitytheatre.org
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FEATURE
Rural film festival is a first for Norfolk Breckland Film Festival was established to raise the profile and increase the use of the Village Screen service managed by Creative Arts East in Breckland. With very few groups showing film screenings in their village halls or community centres, and with only one cinema in a very rural district, the festival was set up to kick start the use of Village Screen. Breckland Council proposed the idea of hosting a film festival and funded this to ensure there was no financial risk to the voluntary promoter’s groups in their first screening. Working in partnership with Creative Arts East, Breckland Council recruited twelve groups to attend an introductory session and they found out what work was involved in becoming a voluntary promoter group. Following the projectionist training, five new voluntary promoter groups and two existing groups committed to the Breckland Film Festival.
Photos © Graham Corney
accounting for walkways and considering the maximum capacity. The projectionist training allowed groups to set up the equipment with the trainer and this provided an opportunity for groups to ask any questions. We certainly learned that there is a demand from residents in Breckland to watch films on a big screen and support community events. Creative Arts East and Breckland Council decided on an international theme of films, to broaden the genre of films on offer, other than mainstream blockbusters. Groups supported this and selected some unusual and unheard of films such as Skin and Dean Spanley, as well as classics like The King and I, La Vie En Rose, and blockbuster hit Slumdog Millionaire.
Breckland Council’s Community Development Officer produced a handbook for groups, giving guidance on licensing, health and safety, how to publicise the film screening and raise additional funds for a village hall or community group.
The opening screening was a sell out and with such interest in the rest of the festival, we are expecting it to be a great success, with groups continuing to host film screenings beyond the film festival.
Some voluntary promoter groups were concerned about the size of their village hall or community venue. Creative Arts East provided a trial session for each group to set up and try the equipment in their venue, which then allows volunteers to consider the lay out of the seating,
Generating a lot of positive press, the film festival achieved coverage in local and regional press and featured on both BBC Look East and BBC Radio Norfolk which was a great result for this collaborative venture between Creative Arts East and Breckland Council.
Breckland Council Executive Member for Communities, Theresa Hewett explained: “Breckland is a very rural district so many residents have to travel a long way to enjoy a film, and some are not able to do so. By recruiting and training local promoters, we now have a band of skilled, confident and motivated volunteers who will continue to book films and organise showings in their local town or village after the Festival”. Chris Garrod – Member of the Voluntary Promoting Group in Great Hockham, Breckland said: “A huge thank you to both Breckland Council and Creative Arts East for the chance to have the film night. We went back to the pub afterwards and the whole place was buzzing with the excitement of the event, which seemed to go extraordinarily well. Now all we have to do is organise the next film….”a Samantha Dawson E: sam.dawson@breckland.gov.uk
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FEATURE
Arts Festivals 2010 Festival season is almost upon us and we thought we might introduce some highlights of the season for our readers. But before you start altering your annual leave to accommodate this fun filled events list, we thought we would mention that this is most definitely not a definitive list! Please feel free to add to it in future editions of mailout, all contributions welcome. With thanks to Caroline Hinchliffe for additional research. HUDDERSFIELD LITERATURE FESTIVAL 10–14 March With performances from Mundo Jazz, Ronald Arthur Dewhirst, a gloriously surreal and funny performance poet, singing and comedy from hostess Peggy Lee and compére Mick Hancock. W: www.thelbt.org NORTHERN LIGHTS FILM FESTIVAL 20-28 March Are you up for making mischief, crossing boundaries and accepting challenges? If so, Northern Lights Film Festival 2010 is for you! Bringing the general public, film buffs and media industry together with a range of risk-taking, rulebreaking, pioneering spirits from the worlds of advertising, film, game and science, be prepared to laugh, cry or just feel the emotion through a mix of events and film screenings. W: www.nlff.co.uk GWLEDD CONWY FEAST 23–24 October Attracting international as well as local tourists, this festival showcases locally sourced products. The festival has a small performance area, livestock tent and a chance for children and adults to get engaged in local culture. When purchasing a wristband to gain access to allocated tents the castle then becomes free, this is excellent for tourists. Locally brewed beer and cider also on sale and demonstrations are on throughout the weekend. W: www.conwyfeast.co.uk LUTON FESTIVAL 29 April–3 May Luton Arts Festival is a celebration of all things artistic and cultural in Luton. It strives to bring together the work of students, local community members, performers and national and international artists and showcase it to the people of Luton.
The festival features live music performances and workshops, spoken word poetry events, art exhibitions and installations and live art workshops, theatre and dance performances. This is an event with a strong grass roots element that aims to involve the whole community and celebrate the cultural diversity of Luton. W: www.lutonartsfestival.org LONDON WORD FESTIVAL 7 March – 1 April Unfolding across a myriad of venues in the capital’s East End, the Word Festival is set to unravel the magic of the ‘word’ exploring everything from blogs and Boggle, to poetic lyricism to lyric poetry. Previous musical relief for the event has included Dan Le Sac Vs Scroobius Pip, The Pan I Am and Saul Williams, so expect more aural wordsmiths this time around. There will also be theatre, poetry, comedy and storytelling. W: www.londonwordfestival.com MALTON AND NORTON FOLK FESTIVAL IN NORTH YORKSHIRE 19–20 March The first ever Malton and Norton Folk Festival in North Yorkshire will be based around various venues in the town. Festival goers will have opportunities to participate in music workshops, dance classes as well as the numerous concerts and shows within the town. E: mnff@live.co.uk NORFOLK AND NORWICH FESTIVAL 7 May–22 May The Festival is back in town and visitors can look forward to 16 heady May days of world-class music, dance, theatre, circus, visual arts, outdoor spectaculars and children’s events. E: info@nnfestival.org.uk W: www.nnfestival.org.uk
NATIONAL URDD EISTEDDFOD 31 May – 5 June This is Wales’ cultural youth festival. Up to 100,000 visitors and 15,000 competitors will be part of this spectacular event which also has a huge TV audience. With the best of Wales’ youngsters participating in song, recitation, drama, dance, composing, poetry, arts and crafts competitions, and much, much more, Ceredigion will be a hive of activity throughout this half term week. W: www.urdd.org STRAWBERRY FAIR 5 June Nestled at the core of Cambridge, Strawberry Fair is a delightful volunteer-run festival that has been going since the early 1970s. Comprising samba bands, a film festival, and a vibrant arts area, there’s plenty to indulge, whilst kids of all ages can enjoy the circus big top as well as story-telling and bouncy castles. The array of stages stretches from World music to young musicians to Acoustica, and beyond. The fabulous Blaggers’ Stage is open for all sorts of ad hoc performances–if you dare! W: www.strawberry-fair.org.uk HOLLOWAY ARTS FESTIVAL 24 June–4 July Watch the website or contact the team via email for more upcoming news about this festival. E: info@hollowayartsfestival.co.uk W: www.hollowayartsfestival.co.uk HEBDEN BRIDGE ARTS FESTIVAL 26 June–11 July Watch the website or contact the team via email for more upcoming news about this festival. hbfestival@gmail.com www.hebdenbridgeartsfestival.co.uk
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Beat Herder festival in Yorkshire combines the best in dance, dub, jungle, reggae and other wild beats with a creative ‘arts’ feel. Photo © Lyndsey Wilson
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REVIEW Arts Festivals 2010 LLANGOLLEN INTERNATIONAL continued EISTEDDFOD 5 -11 July The Llangollen International Musical Eisteddfod is a six-day festival of music, dance, and song that takes place every year in the small Welsh town of Llangollen. It has been running since 1947, and since 1987 the prestigious Choir of the World competition has determined the best overall choir of the event. In 2005 Luciano Pavarotti added his name to the competition in recognition of his
Expressive Arts Activity Book by Suzanne Darley and Wende Heath (Jessica Kingsley Publishers, London, 2008) Reviewed by Nicky Puttick of Arts for Health Cornwall
‘We can bring art back to the practise of healing.’ This practical book of ideas, inspirations and advice for running creative activity sessions with people experiencing ill health (in the broadest sense of the term) has been intelligently and carefully collated in a way that is sensitive to the many delicate issues that can arise as a result of illness, yet remains ultimately life affirming throughout.
“This is a common dilemma when working in the ‘arts for health’ field, with one of the premises of the movement being that creativity itself is healing. The expressive therapies movement (which seems most in keeping with this book’s ethos) seems to occupy the space between this and the more traditional art therapy model.”
It soon becomes apparent when reading the first chapter entitled ‘why art?’ that the authors are entirely comfortable and experienced with the subjects explored in the book, as they effortlessly guide the reader from Asklepios’ temple in ancient Greece, where art and medicine were completely intertwined, to modern day ideas stemming from Jungian symbolism and exploring the many paradoxes that ill health can create. There is a strong sense that these insights are present in the wealth of activities that the book largely consists of, yet the activity ideas are presented simply and in everyday language – making them easy to apply to a range of settings. The format could admittedly be more inspiring, since functionality alone seems to have been the main motivation for the layout. The sessions are aimed at practitioners working in a range of
appreciation of the festival and its influence on his career. W: www.llangollen2010.co.uk WOMAD FESTIVAL 2010 23 – 25 July Promising another year of exciting artists and diverse musicians from across the globe, the 28th WOMAD Festival will be one of the best family events in the UK this summer. W: www.womad.org/festivals/ charlton-park
professions; from art therapists to family counsellors, and the therapeutic undertones of the activities are often very apparent. Setting the tone by which the activities are presented to patients is emphasised as being key to the depths which the activities will explore, so they could potentially be adapted to non-therapeutic settings. This is a common dilemma when working in the ‘arts for health’ field, with one of the premises of the movement being that creativity itself is healing. The expressive therapies movement (which seems most in keeping with this book’s ethos) seems to occupy the space between this and the more traditional art therapy model. Being completely present with a patient is emphasised as the most important quality to develop when initiating the suggested activities. To be a human being present with and receptive to another human: “You are not trying to do anything to anyone. You are not trying to fix them, educate them (although you might), analyse their art or make anything in particular. Your presence creates a “holding environment” that enables patients to feel safe to explore their inner world.” Overall, I would definitely recommend the activities in this book to those who have the professional experience to deal positively with some of the profound and often challenging issues that are explored. For those experiencing ill health, these activities will give insight and meaning into their situations and could provide the key to regaining wellbeing; perhaps a deeper wellbeing than they have previously known.
THE NATIONAL EISTEDDFOD OF WALES 31 July–7 August
The National Eisteddfod of Wales is one of the great festivals of the world, attracting over 160,000 visitors every year. An eclectic mixture of culture, music, visual arts and all kinds of activities for people of all ages, there’s something for everyone. W: www.eisteddfod.org.uk
EXAMPLE ACTIVITY Passages (page 162) Materials: > 12” x 18” sheet of white paper > Coloured pencils or pens > Cut – out images > Glue or Paste > Ephemera (small cut outs, metallic paper, bits of paper ribbon, etc.) Begin the session with a guided imagery exercise that includes “going through a door to a safe or comfortable place.” Take the sheet of paper and fold the sides into the centre. This creates a doubledoor “entryway”. Imagine a door or gate and have the patient draw it on the front “closed” panels. Then open the door or gate and draw or collage on the exposed piece of paper what lies beyond.
Variations The four corners of the sheet can be folded to the centre, which also creates an opening, but one which is not a door or gateway. This is a bit more abstract and playful. For patients who are ready to work with more difficult personal material, the place beyond the closed doors can be described as pain, or shadow material. It can be looked at, but the patient is able to close the doors on it whenever they need. This is a simple way to give a patient control. In this case it would be better not to use the doorway metaphor in the guided imagery, but instead to bring the activity as something separate from the relaxation portion of the session.
HYBRID: ART AND SCIENCE SYMPOSIUM Date: 20 March Location: Thackray Museum, Leeds. Cost: £20.00 (£15.00 concessions) per person, this includes lunch and refreshments. How does the space between art and science manifest itself? Speakers Siân Ede, Arts Director UK Branch Calouste Gulbenkian Foundation and author of Art and Science and Strange and Charmed: science and the contemporary visual arts, Dr Mary Midgley, Philosopher and James Peto, Senior Curator of the Wellcome Collection provide a series of talks addressing some of the ways in which artists and scientists are sharing similar values.
With Chair Doug Sandle, Chartered Psychologist Consultant, curator and researcher in art and visual culture. The conference corresponds with the Hybrid series of exhibitions to be held in Sheffield during February 2010. For a booking form and more details contact Paul Digby E: pj.digby@ntlworld.com NEURO–LINGUISTIC PROGRAMMING TRAINING WITH PROPER JOB Introduction to NLP and NLP Stage Two (Both stages delivered together) Date: 12–15 April Time: 10am–4pm Venue: St. George’s Centre, Leeds Cost: £375 During this two part workshop you will be introduced to NLP in an engaging and interactive programme. Whereas some NLP courses take a more passive, intellectual approach, at PJ we believe that the most effective way to experience NLP is by doing it. That is why, on this workshop, you are invited to actively participate, so that our learning is more deeply integrated both physically and emotionally.
Information and registration contact Naomi Whitman E: naomi@properjob.org.uk MUSIC AND SANTE EUROPEAN TRAINING SESSIONS IN 2010: MUSIC IN HEALTH SETTINGS: Date: 26–30 April Location: Paris Cost: £900 Set up in partnership with the Royal Northern College of Music, this
course is open to any musicians and covers actions with patients of all ages and units.
seek out opportunities and generate new ideas to stay financially healthy.
If you are involved in adult education, you can apply for a Grundtvig scholarship (through your Lifelong Learning Programme National Agency)
This symposium is designed for development or fundraising practitioners working in the arts and cultural sectors.
For more information and registration visit: W: www.musique–sante.org/ europe/europeanTraining.html MUSEUMS AT NIGHT Date: 14–16 May Location: Numerous sites Museums at Night is back in May – bigger than ever before. Night owls can look forward to a weekend of ghostly goings on as museums and galleries across the UK unlock their doors for the annual after-hours celebrations.
W: www.culture24.org.uk/ museumsatnight for information. UK YOUNG ARTISTS EVENT Date: Autumn 2010 The first UK Young Artists event will take place in the Autumn of 2010.
Artists who are selected to take part in this event could also be selected to represent the UK at the XV edition of the Biennale of Young Artists from Europe and the Mediterranean. Work should be new and can be from any art form including visual arts, performing arts, literature, applied arts, film and fashion. Artists must be between 18 and 30 and be a UK citizen or resident in the UK for at least one year. To register your interest please visit: W: www.ukyoungartists.co.uk/ content/biennale-2009 ‘SUBSIDY JUNKIES?’ A DAY OF PRACTICAL SURVIVAL STRATEGIES FOR ARTS FUNDRAISING Date: 26 March Venue: Kings Place, 90 York Way, London N1 9AG Cost: £80 Arts and Business Arts Members, £150 non members How can the arts sector build and sustain income when faced with public spending cuts?
This one day symposium brings together fundraising and development professionals working in the arts and cultural sectors to explore this changing landscape, learn practical survival strategies,
The day will include panel discussions looking at different business models in the arts and getting boards engaged with fundraising along with interactive workshops on pitching to business, major gifts (“making the ask”) and the importance of looking after your supporters (“donor care”). For more information visit W: www.aandb.org.uk IF YOU DON’T ASK… Date: 15 April Venue: McGrigors Belfast, Arnott House, 12–16 Bridge Street, Belfast Cost: The Arts and Business master classes are free to arts members, thanks to funding from Arts Council of Northern Ireland. A facilitated conversation between two key figures from the arts and business sectors. It will cover the best ways to approach businesses for support and also identify the pitfalls to be avoided at all costs.
The master class is open to all our arts members and would be of particular interest to arts fundraisers. Information and booking E: beverly.coomber@artsandbusiness .org.uk W: www.aandb.org.uk COVER UP @ HACKNEY MUSEUM Date: 14 & 15 April Time: 2.00pm – 4.00pm Venue: Hackney Museum Suitable for: All ages, drop-in Enjoy Hackney Museum’s “Behind the Mask” exhibition then discover how homes and buildings might be masked, hidden or camouflaged. Also find out more about where in the world the museum’s many masks have travelled from.
W: www.hackney.gov.uk/cm-museum OUR BACK YARD Date: 10 April – 4 July Venue: Community Gallery, Birmingham Museum and Art Gallery Cost: Admission Free Four artists in residence based within Birmingham have been
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COURSES CONFERENCES AND EVENTS
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COURSES CONFERENCES AND EVENTS working collaboratively with communities in Perry Barr, Erdington, Ladywood and Hodge Hill to encourage participation and to create projects and activities for residents in the community. The exhibition will include storytelling, film, photography, mosaic tapestries and environmental art. W: www.bmag.org.uk T: 0121 303 2834 2010 DESIGN AND WINE LECTURE PROGRAMME North Lancashire Society of Architects in conjunction with the University of Central Lancashire invites you to attend the 2010 Design and Wine lecture programme. Revival in the Square Date: 18 March Time: 8pm Venue: Foster Building, University of Central Lancashire, Preston Cost: £10/Lecture including buffet Nick Corbett provides an insight into how design strategies for new public spaces can transform our cities. Giving guidance on how to build public spaces that will bring people together for a positive, shared experience of urban living. Contact John Gravell T: 01772 627346 E: johngravell@talktalk.net AUDIENCE FOCUS: A MASTER CLASS ON BECOMING AN AUDIENCEFOCUSED ORGANISATION This edition sees a series of courses promoted by the Arts Marketing Association. Dates: 18 March (NICVA, Belfast ) 23 March (Watershed Media Centre, Bristol) Time: 10am–5pm Cost: AMA Member rate: £133 + VAT, Non-member rate: £193 + VAT (Audience focus in Belfast is free to Audiences NI members.) How audience or visitor focused is your organisation? Do the leaders of your organisation champion art and audiences equally? Is your audience development insight-driven? This workshop asks these questions and more to help you to take stock of your own audience and organisational development.
Develop clear insights into your own organisation’s strengths and weaknesses with regards to your audience and organisational development, work with colleagues from across the arts sector on
strategies to overcome any constraining factors, leave with ideas, insights and plans for your audience and organisational development. E: emma@a-m-a.co.uk. DIGITAL CAMPAIGN PLANNING Plan, deliver and evaluate an effective digital marketing campaign Dates: 8 April (West Yorkshire Playhouse, Leeds) 15 April (Birmingham Conservatoire, Birmingham) 21 April (The Women’s Library, London) 27 April (Festival Theatre, Edinburgh) Time: 1.30pm to 5.30pm Cost: Member rate: £75 + VAT, Nonmember rate: £125 + VAT Digital marketing has become a valuable component of the marketing mix. You know what the tools are and you know how to use them. This seminar will take you a step further and show you how to plan, deliver and evaluate an effective digital marketing campaign that suits your organisation.
Learn how to select which digital tools to use for which campaign, how to get started, the resources you need, and how to measure the reach and effectiveness of your campaign. KNOW YOUR AUDIENCE: DEVELOPING AN AUDIENCE INFORMATION STRATEGY Date: 6 May (Arts Council of Northern Ireland, Belfast) 13 May (The Resource Centre, London) Time: 10am–5pm Cost: AMA Member rate: £133 + VAT, Non-member rate: £193 + VAT Audience focus in Belfast is free to Audiences NI members.) This workshop will provide you with the skills and knowledge you need to put together an audience information strategy for your organisation. Discover the difference that a well planned information strategy can make to your ability to measure and improve the impact of your marketing campaigns – and find out how to collect the right information to inform your marketing and business plan and to better segment your audiences.
E: emma@a-m-a.co.uk. W: www.a-m-a.co.uk
STRATEGIC STORYTELLING: PRESS AND PR CAMPAIGN STRATEGY Date: 2 June (St David’s Hall, Cardiff) 8 June (City Halls, Glasgow) 17 June (Royal Exchange Theatre, Manchester) 24 June (The Women’s Library, London) Time: 10am to 5pm Cost: AMA Member rate: £133 + VAT, Non-member rate: £193 + VAT We often begin our press effort by writing a press release, releasing it and waiting with baited breath for coverage … but nothing appears. Deflated, we return to the drawing board and spend money on advertising – why? The key to successfully communicating your stories and messages to the media begins with a well thought-through press campaign strategy.
Those with a few years’ experience of press or a press and marketing role within an arts organisation who would like to develop their skills to make more effective use of their time when dealing with press and media work. Info and booking W: www.a-m-a.co.uk AMA CONFERENCE 2010: PULLING POWER – THE SOCIAL MARKETING REVOLUTION Date: 20 July–22 July Venue: The Royal Armouries Museum and Saviles Hall, Leeds Cost: AMA members book and pay by end May 2010 – £399 + VAT AMA members: book from 1st June 2010 – £423 + VAT Non AMA members: £497 + VAT Latest thinking from business and marketing leaders across all sectors is indicating new developments in public behaviour. The 2010 AMA conference will explore how these developments have led to a move from marketing to (push marketing) to marketing with audiences (pull marketing) and how our marketing techniques and strategies will now need to adapt as a result of this.
Booking E: emma@a-m-a.co.uk. For full information on all of the above courses and conference visit W: www.a-m-a.org.uk
Since November there have been some changes at Awards For All designed to make the application process more accessible. They have introduced a new guide which fully explains the application process and is useful when deciding whether to apply to Awards For All: W: www.awardsforall.org.uk/england Recently the Big Give launched an online service, through which charities can receive online donations without paying fees or set up costs. The Big Give enables you to post a project on their website and it may then attract a funder. For more information go to:
advice and help on the phone. F: 01902 794 646 E: info@veoliatrust.org In the North West the Heritage Lottery Fund are raising the profile of ‘Generation Games’ – Engaging young people in Heritage and that may be the case in other regions. Another scheme – Your Heritage provides grants of £3,000 to £50,000 to encourage all the rest of us to connect with our individual and collective pasts. For further information go to:
W: www.thebiggive.org.uk
W: www.hlf.org.uk/InYourArea T: 020 7591 6000 Fax: 020 7591 6271 Email: enquire@hlf.org.uk
A similar scheme to the one above has been launched by Virgin – Virgin Money Giving. This scheme charges a one–off charge of £100 + VAT set up charge and 2% of any donations. Take a look for yourself at:
There is a significant amount of ESF (European Social Fund) money being spent on projects to achieve sustainable economic growth and promote social inclusion in Cornwall and the Isles of Scilly.
W: www.uk.virginmoneygiving.com /giving Virgin Money Giving Ltd, PO Box 160, Norwich, NR4 6FS. E: theteam@virginmoneygiving.com T: 08456 10 10 45
Around £200 million will be available, some of this funding has already been allocated, and organisations should contact their local co-financing organisation. To find out everything go to:
The Tudor Trust recently published new guidelines. They want to support organisations and people who know what difference they want to make and have the energy and vision to make it happen. They are more likely to fund groups with an annual turnover of less than £1 million. They aim to make around 350 grants a year but receive thousands of applications, hence, the two-stage application process. Full guidelines including exceptions are available on their website: W: www.tudortrust.org.uk The Tudor Trust, 7 Ladbroke Grove, London, W11 3BD. T: 020 7727 8522 The Veolia Trust is another of these landfill tax trusts, primarily intended to support community and environmental projects across the UK. A minimum of 20% of funding needs to be secured for project with a total cost exceeding £25,000. For further information please go to: W: www.veoliatrust.org The Veoila Environmental Trust, Ruthdene, Station Road, Four Ashes, Wolverhampton, WV10 7DG. T: 01902 794 677 – They offer further
W: www.lsc.gov.uk/regions/ SouthWest/esf LSC Cornwall and the Isles of Scilly, Penhaligon House, Green Street, Truro, TR1 1DZ. T: 01752 754 170 BIG Reaching Communities has an extra £20 million and the eligibility criteria have been relaxed. BIG want to encourage the following changes to communities as a result of the funding: > people having better chances in life, including being able to get better access to training and development to improve their life skills > strong communities, with more active citizens, working to tackle their problems > improved rural and urban environments, able to access and enjoy healthier and more active people and communities. Contact the national helpline for advice: T: 0845 410 20 30 E: general.enquiries@biglottery fund.org.uk Lottery Funding Helpline T: 0845 275 00 00 W: www.biglotteryfund.org.uk/ prog_reaching_communities
The City Bridge Trust – London has a range of schemes with fairness, inclusion and independence at the core of their work. There are no closing dates for applications and for further information contact: The City Bridge Trust, City of London, PO Box 270, Guildhall, London, EC2P 2EJ. General enquiries T: 020 7332 3710 Improving Services for Older People programme: T: 020 7332 3705 Minicom: 020 7332 3151 Fax: 020 7332 3127 E: citybridgetrust@cityoflondon. gov.uk W: www.bridgehousetrust.org.uk Projects which benefit young people are considered by the Peter Cruddas Foundation but they can only donate money to UK registered charities. They strongly recommend that you read the notes before completing the application form. Further information from: Stephen D Cox, Foundation Administrator, Peter Cruddas Foundation, 66 Prescot Street, London, E1 8HG. T: 0203 003 8360 Fax: 0203 003 8580 E: s.cox@pcfoundation.org.uk W: www.thepetercruddas foundation.org Comic Relief have lodged £5 million with Community Foundations across the UK to support local projects which address a number of issues including lack of confidence, low self esteem and increase community cohesion. Details of all local Community Foundations can be found at: W: www.communityfoundations. org.uk/finding_uk_community_ foundations Any problems contacting them try Rebecca Wood at Community Foundation Network: T: 020 7713 9326 E: office@communityfoundations. org.uk > Continued on page 36
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FUNDING Small grants of between £100 and £2,000 are awarded through the Co-operative Community Fund. Applications can be made online: W: www.co-ooperative.coop/ membership/CommunityFund/onlineapplicationprocess The Bernard Sunley Charitable Foundation aims to improve the quality of life particularly of those in need. Grants range from £250,000 down to less than £1,000. The Foundation publishes very brief guidelines, does not have an application form and asks you to write to the Director giving details of your charity and its objectives, the need and purpose of your project, how much it will cost, the size of grant requested and how much has already been raised. Include annual report and accounts and any other documentation you feel will help your bid. The catchment area is England and Wales. The Bernard Sunley Charitable Foundation, 20 Berkeley Square, London, W13 6LH. T: 020 7408 2198 E: office@sunleyfoundation.com The Gannett Foundation is the charitable arm of Gannett Co Inc., owner of Newsquest Media Group one of the UK’s largest publishers. The Foundation provides funding to support local organisations in the area where Newsquest operates in the UK. Grants are between £1,000 and £5,000 so check if Newsquest publish your local paper on the Newsquest Media Group Website. E: foundation@gannett.com W: www.gannettfoundation.org
Some London Boroughs benefit from the John Lyon’s Charity and the next deadline is Friday 23 July 2010 for the Oct/Nov 2010 Trustee Meeting – the year has gone already! An information brochure setting out the grant-giving guidelines and details of the application procedure is available from: The Grants Office, John Lyon’s Charity, 45 Pont Street, London, SW1x 0BD. T: 020 7591 3330 Fax: 020 7591 3412 E: info@johnlyonscharity.org.uk W: www.johnlyonscharity.org.uk Unlimited Commissions will celebrate disability, arts, culture and sport as part of the Cultural Olympiad. Round One has already happened but the Round 2 deadline for applications is 1 October and successful applicants will be notified on the 23 December. Further information E: unlimited@artscouncil.org.uk T: 0845 300 6200 The St Hugh’s Foundation has released details of its new Arts Awards programme starting this year, 2010. From its inception the Foundation has encouraged and supported a large number of new projects proposed by both individual arts practitioners and by local authorities and other arts organisations. Many individual artists, performers and arts workers have benefitted from opportunities to develop their experience in ways that have helped to change their horizons and expand their careers.
Unlike some public sources of arts support, the St Hugh’s Foundation is able to consider innovative proposals focusing on personal development in the arts, including, where appropriate, foreign travel and research. The new Arts Awards will be open to applications from individuals and from groups or public organisations. The Foundation wants to invest in developmental creative projects that will evolve and grow over time. They should help to address regional needs for innovation and change in arts practice, policy or management. Projects could be between £12,000 and £15,000 spread over a period of up to three years. Completed applications must be submitted by 3 May, but anyone thinking of applying should download the information from the Foundation’s website as early as possible. W: www. sthughsfoundation.co.uk E: sthughscharity@tiscali.co.uk
clipout>> mailout’s cut out and keep guide to good practice
Clipout is our regular cut out and keep guide to good practice and vital contacts. This issue looks at how can you get your message across and get your name out there with the public and potential customers, clients, partners or funders? Here at mailout we largely rely on you to tell us what you’re up to. If you don’t tell us we can’t promote your story. In this issue Julie Wilson from Sore Thumb Marketing gives tips on cost effective PR.
Budget Friendly Marketing and PR In today’s cost cutting climate, many marketing teams may find their budgets being cut dramatically and paying for advertising space in magazines and other media may no longer be an option. (Though mailout offers a very cost effective option) So now is a good time to consider using PR to your advantage as effective PR can help to raise awareness of your business and ultimately drive sales. Listed below are some ideas to consider to promote your products and services using PR as the vehicle.
How can I develop PR stories? Press releases can be drafted about new content and statistics, but also ‘hooked’ on relevant calendar dates such as Easter, Summer holidays, Christmas, as well as the huge range of National Days and Weeks that run throughout the year. Be aware that magazines work about 3 months in advance so you need to plan well ahead and be talking to them about Christmas stories, for example, in early September.
Also look at ways you can promote your business to the local press. Local newspapers and radio stations are often crying out for stories to fill their pages and airtime and you could be it. Make sure you tell them about anything you are doing. Become the local media’s friend and expert on your area of expertise. If you have organised an event, even if it is just going along to the local primary school to give a talk on what you do, let them know. Phone the news desk and then follow up the call with a press release. Take photos and then if they don’t turn up, ring them again and email them the photos. Keep the pressure on and it will pay off!
How do I put together a good press release? The most important part of the press release is the headline. It needs to be bold and interesting – and above all it needs to stand out from all the other press releases. Your best bet is to write it in the style of the headlines of the publication you’re targeting. For example, if you were selling a new nappy that was eco friendly but disposable too, which of these press releases do you think would get the best response:
New Eco-Disposable Nappy launched Or Guilt-free disposable nappies offer a real alternative to cloth ones Make sure you cover the ‘Five Ws’ in the opening paragraph – Who, What, Where, When and Why. Put the date at the top and start with a short heading in bold. Include your company logo and an image of the product or service you are promoting in your release – but make sure this is low resolution so the press release is a small file when you email it out. Also use simple, direct language and try and use ‘people’ words where possible. Don’t be afraid to add a quote from yourself, or someone in your company. It breaks up the prose and is a better way of expressing an opinion. When finished type –ENDS– Always include your contact details, name, telephone number and email address. If you are writing a release about an event your are putting on and wish to invite the newspaper to send a photographer, put this at the end of the release, after –ends– as a ‘note to the editor’.
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clipout>> Is there any particular story angle the press like and pick up on? Surveys always work well with the media providing them with statistics about certain facts relating to your business. Surveys are always relatively inexpensive as you can email your existing customer base a survey for them to complete to give you the data to feed your releases. For example, if you are in the garden industry you could survey your customers to find out how the credit crunch is affecting their spending habits. Think about what information would make a good story such as are people growing their own fruit and vegetables now to save money? Then, you can issue the findings as a press release e.g. “Credit Crunch gives allotments a boost – over 65% now grow own fruit and veg.”
What other ways can I drive awareness of my business? Use the internet to your advantage. In today’s virtual world you can help improve your visibility on the net by linking to and from as many other sites as possible. There are loads of free business directories out there – if you search under free business listing in Google, you’ll find many of these listed. Sites such as www.gumtree.com offer completely free listings. Also try directories such as www.touchlocal.com Look at relevant forums and put postings on them as appropriate with a link to your website. You could also offer to write articles for complimentary businesses’ websites and newsletters to get your website name publicised for free. If you have done any press releases, you could adapt these and use them as the basis of the articles – so no need to reinvent the wheel and create extra work.
Accompany your press release with striking good quality images that will capture attention
You can also often get the opportunity to ‘tell your story’ in one of the e-newsletters that some of the forums issue – a good way to give yourself some free PR. Also look out for the awards that are run for businesses and products and get yourself and your products nominated as if you win they provide a great PR tool and are a fantastic way to get your business on the map!
What about other low cost promotional ideas? Competitions and reader offers are a good way of maximising editorial coverage. They allow you a degree of editorial control, as you can ensure all your key messages are included, and are much more cost effective than advertising. These provide you with the opportunity of securing editorial coverage for the cost of providing products for prizes. The reader offers could be linked to questions whose answers are found on your website, to drive traffic and awareness of the site’s content. It is also a good idea to offer all the non-winners a chance to get a discount off their first purchase if they make a purchase by a specified date (this could be in the form of a coupon you could email to them and they could print off).
The cost of prize required varies between titles so this needs to be discussed as and when opportunities arise.
Is there anything else I need? One area where it’s a good idea to include a media centre area on your website which includes your latest press releases and high resolution images that journalists can download too. If you haven’t got photography this is on are where it is a good idea to invest a little money to ensure you have good quality high resolution product shots but also suitable images to accompany any press releases you do. For example if you are issuing a release about a survey highlighting the effects of all the packaging we throw away at Christmas, why not attach a photo of a family surrounded by hundreds of empty present boxes to show just how much wasted packaging there is out there to get your point across.a
Journal of Arts and Communities Exclusive Offer for an individual copy of Issue 2! £6.00 to Mailout Subscribers (plus postage) £12.00 for Non Subscribers (plus postage)
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The Journal of Arts and Communities seeks to provide a critical examination of the practices known as community or participatory arts, encompassing work which incorporates active creative collaboration between artists and people in a range of communities of place and interest.
To purchase a copy of Issue 1 please email ruth@e-mailout.org for details on ways you can pay or send a cheque for the amount plus £1.54 postage payable to Mailout: Mailout. PO Box 665, Chesterfield, Derbyshire, S40 9GY www.e-mailout.co.uk If you are a subscriber please write your reference number/organisation or postcode on the reverse of the cheque. Please specify delivery address. www.e-mailout.co.uk/journalorderform.rtf
Dot to Dot (arts) New Jobs The Trustees of Dot to Dot (Arts), an established and dynamic participatory arts project in Portsmouth, would like to appoint 2 new members of staff:
Artistic Director and Administrative Director Each to work for 3 days per week at a salary of £26,000 p.a. pro rata (i.e. £15,600). Working in close collaboration, it is hoped that these two postholders will, with previous experience and creativity, enable Dot to Dot to develop and prosper. For more information, please send an A4 SAE to: Jim Madge Administrator – Dot to Dot Windhover Cottage, Brook Lane, Woodgreen Fordingbridge, Hants SP6 2AZ Or e-mail: jim.madge@btinternet.com Stating which of the two posts you are interested in. Please also visit our website: www.dottodot.org.uk for more information about our work. Closing date for applications: Thursday March 18th 2010 Interviews to be held in the week beginning 29 March 2010 Please note that both posts will require a Criminal Records Bureau Record check. Dot to Dot 25.2.2010
The General Election is only a few weeks away. Time to stand up, stand out and be counted.
make your own rosette
Whatever your party or campaigning allegiance, why not seize the opportunity presented by the heightened political atmosphere shortly to engulf us, and pin your colours to your chest. Courtesy of the Scottish Parliament, mailout if offering a free template with detailed instructions on how to make your campaign rosette. Mailout has made its own rosettes from previous issues of the magazine. Let your imagination run riot â&#x20AC;Ś and send us a photo of your own unique design and weâ&#x20AC;&#x2122;ll print a selection of the best in the next issue of the mag. Download the template from http://tinyurl.com/cxdj2h Email your (print quality) photos to editor@e-mailout.co.uk